Roland DS61 Parameter Guide

Additional Explanation

Panel Descriptions

When this button is on (lit), you can use the [0]–[9] buttons to enter

[NUMERIC] button

numeric values.

* You can use this button only in the PATCH screen and PERFORM

screen.

Used to execute an operation.

List display

You can move the cursor to a parameter and press the [ENTER] button

[ENTER] button

to see a list of that parameter’s values. You can select a value from the list that’s shown.

(Example)

In the PATCH screen, move the cursor to the patch number and press the [ENTER] button to see the patch list.

Press the [EXIT] button to return to the previous screen.

Patch Mode

5If you press the same category button in succession, the patch changes as follows

each time you press the button.

Each time you press the button, the rst patch of the two subcategories is selected.

If a user patch is saved

Each time you press the button, the rst patch of sub-category 1 0 sub-category 2 0 user 0 sub-category 1 … is selected.

Key Touch

5Depending on the KEY TOUCH setting, the [KEY TOUCH] button is lit or unlit.

Lit When the Velocity setting is “REAL”

Unlit When the Velocity setting is “1–127”

Sample Import

5When importing a sample, the OPTIMIZE window might appear depending on the

user memory usage status.

OK Memory is optimized, and then the sample import is executed.

CANCEL Sample import is cancelled.

Editing a Patch/Drum Kit

PATCH EDIT

5In the PATCH EDIT screen when editing each tone, you can use pads [1]–[8] to

perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

5In the PATCH EDIT screen, press the [MENU] button to open the INIT MENU window.

Select “PATCH” or “TONE” and then press the [ENTER] button to initialize the selected patch or tone.

Turn each tone on (pad lit) or o. When a tone is on, a “(” symbol appears.

Make the pad(s) light to specify the tone(s) that you want to edit. You can also make multiple pads light to select multiple tones.

If a user patch is saved

Each time you press the button, the rst patch of preset 0 user 0 preset … is selected.

Performance Mode

5You can use pads [1]–[8] to select the applicable part (current part).

5Pressing a pad [1]–[8] selects part 1–8. 5Hold down the [SHIFT] button and press pad [1]–[8] to select part 9–16.

16-part mode

5Within Performance mode, the state in which neither split, dual, nor super layer is

selected is called “16-part mode.”

5

6

No. Explanation

1

2

3

4

5

3

Eect on (lit)/o (unlit)

Tempo

Performance bank

Performance number/name

Current part

1

10

2

4

7

8

9

No. Explanation

Category number/Patch name

6

Level of the current part

7

Level meter

8

Octave Shift setting

9

Parameters that can currently be

10

adjusted by the control knobs

DRUM KIT EDIT

5A drum kit consists of a percussion instrument sound (tone) assigned to each key.

The tone that’s assigned to each key consists of a combination of up to four waves. Drum Kit Edit lets you edit the settings of the tone that’s assigned to each key.

5In the DRUM KIT EDIT screen, when editing the four waves that make up the tone

assigned to the selected key, you can use pads [1]–[8] to perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

Turn each wave on (pad lit) or o. When a wave is on, a “(” symbol appears.

Make the pad(s) light to specify the wave(s) that you want to edit. You can also make multiple pads light to select multiple waves.

5In the DRUM KIT EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “DRUM” or “TONE” and then press the [ENTER] button to initialize the selected drum kit or the tone of the selected key.

Editing a Performance

5“PERFORMMANCE EDIT” lets you edit while viewing a list of the settings of all parts,

and “PART EDIT” lets you edit each part of the performance individually.

* PERFORMANCE EDIT and PART EDIT have the same parameters in common.

5In the PERFORM EDIT or PART EDIT screen, you can use pads [1]–[8] to select the

part that you want to edit. If you hold down the [SHIFT] button and press a pad [1]– [8], a part 9–16 is selected.

5In the PERFORM EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “PERFORM” or “PART” and press the [ENTER] button to initialize the selected performance or part.

When you play the keyboard, you’ll hear the current part and the parts whose keyboard switch (p. 19, p. 20, p. 22) is on.

Adjusting the volume

You can use the [UPPER] LEVEL slider and [LOWER] LEVEL slider to adjust the part 1 and part 2 volume (LEVEL).

2

Pattern Sequencer

5In the PATTERN SEQUENCER screen, you can long-press the [LOOP] button to open

the LOOP window, where you can make loop-related settings. Press the [EXIT] button to close the LOOP window.

Parameter Explanation

Species whether playback will loop (ON) or not loop (OFF).

Loop Switch

Loop Rec

* You can also switch this by pressing the [LOOP] button.

OFF, ON

Species whether to loop-record (ON) or not loop-record (OFF).

* You can also switch this by pressing the [LOOP] button while holding

down the [SHIFT] button.

OFF, ON

Additional Explanation

Move the cursor to “SAVE AS PERFORM,” and press the [ENTER] button.

4.

The SAVE AS PERFORM screen appears.

Use the value dial to select the write destination performance, and press

5.

the [ENTER] button.

A conrmation message appears. If you decide to cancel, press the [EXIT] button.

Move the cursor to “OK,” and press the [ENTER] button.

6.

Writing is complete when the screen indicates “Completed!”

NOTE

Never turn o the power while the screen indicates “Writing....”

5Use the [UPPER] slider to adjust the level of track 1, and the [LOWER] slider to adjust

the level of track 2.

5Use the [PHRASE PAD] slider to increase or decrease the level that’s specied for

tracks 3–8 while maintaining the balance between these tracks.

5Press the [MIXER] button to open the MIXER screen. Here you can set the pan and

level of each track.

You can use pads [1]–[8] to select a track to edit. Use the [UPPER]/[LOWER]/[PHRASE PAD] sliders to adjust the level.

MEMO

Tracks 1–7 are assigned to parts 1–7, and track 8 is assigned to part 10.

Realtime Erase

Erasing only specied notes during recording or playback (REALTIME NOTE ERASE)

During recording or playback, hold down the [RHYTHM PATTERN] button

1.

and press the [ERASE] button.

The REALTIME NOTE ERASE window appears.

Press a key on the keyboard to specify the note that you want to erase.

2.

Press the [ERASE] button.

3.

While you continue holding down the key, only the note you specify is erased from the selected track.

Turning the Display Backlight On/O

To reduce battery consumption, you can turn o the display backlight when it’s not required.

Hold down the [SHIFT] button and press the [EXIT] button.

1.

The display backlight will turn o.

Turning the display backlight on

Hold down the [SHIFT] button and press the [ENTER] button.

1.

The display backlight will turn on.

Demo Songs

1 Wonder 2 There There There

Erasing only movements of knobs or the bender/modulation lever during recording or playback

During recording or playback, hold down the [MUTE] button and press the

1.

[ERASE] button.

Only while you continue holding down these buttons, movements of the knobs and the bender/modulation lever are erased from the selected track.

Saving a Pattern As a “Performance” (SAVE AS PERFORM)

Settings related to the sound of the pattern (preset/user) used in the pattern sequencer can be saved as a performance. For example, if you want to export a pattern to SMF, use your DAW to edit it into a complete song, and then use the JUNO-DS to play this song data, the performance saved by the “SAVE AS PERFORM” function can be recalled to play the data using the original sound.

In the PATTERN SEQUENCER screen, select a pattern.

1.

Press the [MENU] button.

2.

The MENU screen appears.

Move the cursor to “PATTERN UTILITY,” and press the [ENTER] button.

3.

3

Patch Mode

Patch/Drum Kit Edit

Procedure

Select a patch or drum kit that you want to edit.

1.

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

2.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “PATCH EDIT” or “DRUM KIT EDIT,” and press the [ENTER]

3.

button.

The PATCH EDIT or DRUM KIT EDIT screen appears.

MEMO

5In the PATCH EDIT screen when editing each tone, you can use pads [1]–[8] to

perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

5In the PATCH EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “PATCH” or “TONE” and then press the [ENTER] button to initialize the selected patch or tone.

Turn each tone on (pad lit) or o. When a tone is on, a “(” symbol appears.

Make the pad(s) light to specify the tone(s) that you want to edit. You can also make multiple pads light to select multiple tones.

MEMO

5In the DRUM KIT EDIT screen, when editing the four waves that make up the

tone assigned to the selected key, you can use pads [1]–[8] to perform the following operations.

Pads [5]–[8]

Pads [1]–[4]

5In the DRUM KIT EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “DRUM” or “TONE” and then press the [ENTER] button to initialize the selected drum kit or the tone of the selected key.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

4.

Move the cursor to the parameter that you want to edit, and use the value

5.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

6.

(Write)” (refer to owner’s manual).

Turn each wave on (pad lit) or o. When a wave is on, a “(” symbol appears.

Make the pad(s) light to specify the wave(s) that you want to edit. You can also make multiple pads light to select multiple waves.

About the Parameters

5Parameters marked with a “2” can be controlled using Matrix control (p. 12).

5Some parameters (such as Rate or Delay Time) can be set in terms of a note value.

Sixty-fourthnote triplet

Sixteenth-note triplet

Dotted sixteenth note

Quarter note Half-note triplet

Whole-note triplet

Dotted whole note

Sixty-fourth note

Dotted thirtysecond note

Eighth note

Dotted half note Whole note

Double note

Thirty-secondnote triplet

Sixteenth note

Quarter-note triplet

Dotted quarter note

Thirty-second note

Eighth-note triplet

Dotted eighth note

Half note

Double-note triplet

NOTE

If you specify the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length.

This is because there is an upper limit for the delay time; if the delay time is specied as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specied when setting the delay time as a numerical value.

Patch Parameters

COMMON

Parameter Value/Explanation

Species the type (category) of the patch.

Patch Category

Patch Level

Patch Pan

Patch Priority

Octave Shift

Patch Coarse Tune

Patch Fine Tune

Stretch Tune Depth

Analog Feel

Cuto Oset

Resonance Oset

Attack Time Oset

Release Time Oset

* If you select “NO ASSIGN” as the category, it won’t be possible to select

the patch on the JUNO-DS itself.

Refer to “Category List” (p. 5).

Species the volume of the patch.

0–127

Species the pan of the patch. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

This determines how notes will be managed when the maximum polyphony is exceeded (128 voices).

LAST

LOUDEST

Adjusts the pitch of the patch’s sound up or down in units of an octave (±3 octaves).

-3–3

Adjusts the pitch of the patch’s sound up or down in semitone steps (±4 octaves).

-48–48

Adjusts the pitch of the patch’s sound up or down in 1-cent steps (±50 cents).

-50–50

Stretched tuning (a system by which acoustic pianos are normally tuned, causing the lower range to be lower and the higher range to be higher than the mathematical tuning ratios would otherwise dictate)

OFF Equal temperament

1–3

Species the depth of 1/f modulation that is to be applied to the patch. By adding this “1/f modulation,” you can simulate the natural instability characteristic of an analog synthesizer.

0–127

Cuto Frequency Oset alters the cuto frequency of the overall patch, while preserving the relative dierences between the cuto frequency values set for each tone in the Cuto Frequency (p. 8).

* This value is added to the cuto frequency value of a tone, so if the

cuto frequency value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

Resonance Oset alters the resonance of the overall patch, while preserving the relative dierences between the resonance values set for each tone in the Resonance (p. 8).

* This value is added to the resonance value of a tone, so if the resonance

value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

Attack Time Oset alters the attack time of the overall patch, while preserving the relative dierences between the attack time values set for each tone in the TVA-Env Time 1 (p. 10), TVF-Env Time 1 (p. 9).

* This value is added to the attack time value of a tone, so if the attack

time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

Release Time Oset alters the release time of the overall patch, while preserving the relative dierences between the release time values set for each tone in the TVA-Env Time 4 (p. 10), TVF-Env Time 4 (p. 9).

* This value is added to the release time value of a tone, so if the release

time value of any tone is already set to “127” (maximum), positive “+” settings here will not produce any change.

-63–+63

The last-played voices will be given priority, and currently sounding notes will be turned o in order, beginning with the rst-played note.

The voices with the loudest volume will be given priority, and currently sounding notes will be turned o, beginning with the lowest-volume voice.

Higher settings will produce the greater dierence in the pitch of the low and high ranges.

Pitch dierence from equal temperament

Low note range High note range

Parameter value

4

Patch Mode

Parameter Value/Explanation

Velocity Sens Oset alters the Velocity Sensitivity of the overall patch while preserving the relative dierences between the Velocity Sensitivity values set for each tone in the parameters below.

Velocity Sens Oset

Mono/Poly

Legato Switch

Legato Retrigger

MEMO

Let’s say you have the Legato Switch set to “ON,” and the Legato Retrigger set to “OFF.” When you try to sound a legato (by pressing a higher key while a lower key is held down), the pitch may sometimes not be able to rise all the way to the intended pitch (stopping instead at an intermediate pitch). This can occur because the limit of pitch rise, as determined at the wave level, has been exceeded. Additionally, if diering upper pitch limits are used for the waves of a Patch that uses multiple tones, it may stop being heard in MONO. When making large pitch changes, set the Legato Retrigger to “ON.”

Portamento Switch

Portamento Mode

Portamento Type

Cuto V-Sens (p. 9) Level V-Sens (p. 10)

* This value is added to the velocity sensitivity value of a tone, so if the

velocity sensitivity value of any tone is already set to “+63” (maximum), positive “+” settings here will not produce any change.

-63–+63

Species whether the patch will play polyphonically (POLY) or monophonically (MONO). The “MONO” setting is eective when playing a solo instrument patch such as sax or ute.

MONO Only the last-played note will sound.

POLY Two or more notes can be played simultaneously.

Species whether the Legato Switch will be used (ON) or not (OFF). With the Legato Switch parameter “ON,” pressing a key while continuing to press a previous key causes the note to change pitch to the pitch of the most recently pressed key, sounding all the while. This creates a smooth transition between notes, which is eective when you wish to simulate the hammering-on and pulling-o techniques used by a guitarist.

* Legato Switch is valid when the Mono/Poly is set to “MONO.”

OFF, ON

The setting determines whether sounds are replayed (ON) or not (OFF) when performing legato. Normally you will leave this parameter “ON.” When “OFF,” when one key is held down and another key is then pressed, only the pitch changes, without the attack of the latter key being played. Set this to “OFF” when performing wind and string phrases or when using modulation with the mono synth keyboard sound.

* Legato Retrigger is valid when the Mono/Poly is set to “MONO” and the

Legato Switch is set to “ON.”

OFF, ON

Species whether the portamento eect will be applied (ON) or not (OFF).

OFF, ON

Species the performance conditions for which portamento will be applied.

NORMAL Portamento will always be applied.

LEGATO

Species the type of portamento eect.

RAT E

TIME

When another key is pressed during a pitch change produced by portamento, a new pitch change will begin. This setting species the pitch at which the change will begin.

PITCH

Portamento will be applied only when you play legato (i.e., when you press the next key before releasing the previous key).

The time it takes will depend on the distance between the two pitches.

The time it takes will be constant, regardless of how far apart in pitch the notes are.

Starts a new portamento when another key is pressed while the pitch is changing.

Pitch

Parameter Value/Explanation

When portamento is used, this species the time over which the pitch will

Portamento Time

change. Higher settings will cause the pitch change to the next note to take more time.

0–127

Category List

Category Contents

- - - No assign No assign

PNO AC. Piano Acoustic Piano

EP EL. Piano Electric Piano

KEY Keyboards Other Keyboards (Clav, Harpsichord etc.)

BEL Bell Bell, Bell Pad

MLT Mallet Mallet

ORG Organ lectric and Church Organ

ACD Accordion Accordion

HRM Harmonica Harmonica, Blues Harp

AGT AC.Guitar Acoustic Guitar

EGT EL.Guitar Electric Guitar

DGT DIST. Guitar Distortion Guitar

BS Bass Acoustic & Electric Bass

SBS Synth Bass Synth Bass

STR Strings Strings

ORC Orchestra Orchestra Ensemble

HIT Hit&Stab Orchestra Hit, Hit

WND Wind Winds (Oboe, Clarinet etc.)

FLT Flute Flute, Piccolo

BRS AC. Brass Acoustic Brass

SBR Synth Brass Synth Brass

SAX Sax S ax

HLD Hard Lead Hard Synth Lead

SLD Soft Lead Soft Synth Lead

TEK Techno Synth Techno Synth

PLS Pulsating Pulsating Synth

FX Synth FX Synth FX (Noise etc.)

SYN Other Synth Poly Synth

BPD Bright Pad Bright Pad Synth

SPD Soft Pad Soft Pad Synth

VOX Vox Vox, Choir

PLK Plucked Plucked (Harp etc.)

ETH Ethnic Other Ethnic

FRT Fretted Fretted Inst (Mandolin etc.)

PRC Percussion Percussion

SFX Sound FX Sound FX

BTS Beat&Groove Beat and Groove

DRM Drums Drum Set

CMB Combination Other patches which use Split and Layer

Portamento Start

NOTE

press D4 key

press C4 key

Portamento will begin anew from the pitch where the current change would end.

Pitch

press C4 key

press C5 key

press D4 key

Time

5

Patch Mode

WAVE

Parameter Value/Explanation

1– *4

*

Wave Group

Wave No. L (Mono)

Wave No. R

Wave Gain

Wave Tempo Sync

Wave FXM Switch

Wave FXM Color

Wave FXM Depth

2

Specify the on/o status of tones 1–4. If a tone is on, a “(” mark is shown.

OFF, ON

Selects the group for the waveform that is to be the basis of the tone.

INTA, B Waveforms stored in internal

EXP Waveforms for expansion sounds

Selects the basic waveform for a tone. Along with the Wave number, the Wave name appears at the lower part of the display. When in mono, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

OFF, 1–2402 (The upper limit will depend on the wave group.)

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain. If you intend to use the Booster to distort the waveform’s sound, set this parameter to its maximum value (p. 7).

-6, 0, +6, +12

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

OFF, ON

MEMO

Phrase loop refers to the repeated playback of a phrase that’s been pulled out of a song (e.g., by using a sampler).

Sets whether FXM will be used (ON) or not (OFF).

OFF, ON

MEMO

FXM (Frequency Cross Modulation) uses a specied waveform to apply frequency modulation to the currently selected waveform, creating complex overtones. This is useful for creating dramatic sounds or sound eects.

Species how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

1–4

Species the depth of the modulation produced by FXM.

0–16

Selects the type of tone delay.

NORM

The tone begins to play after the time specied in the Tone Delay Time has elapsed.

No Tone Delay

Parameter Value/Explanation

OFF-D

MEMO

If you have selected a waveform that is a decay-type sound (i.e., a sound that fades away naturally even if the key is not released), selecting “OFF-N” or “OFF-D” may result in no sound being heard.

Species the time from when the key is pressed (or if the Delay Mode is set

Tone Delay Time

to “OFF-N” or “OFF-D,” the time from when the key is released) until when the tone will sound.

0–127, note

Rather than being played while the key is pressed, the tone begins to play once the period of time specied in the Tone Delay Time has elapsed after release of the key. Here, however, changes in the TVA Envelope begin while the key is pressed, which in many cases means that only the sound from the release portion of the envelope is heard.

Delay time

Note on Note o

TMT

Parameter Value/Explanation

Determines how tone 1 and 2, or tone 3 and 4 are connected. The following 10 dierent Types of combination are available.

1

2

With this type, tones 1 and 2 (or 3 and 4) are independent. Use this type when you want to preserve PCM sounds or create and combine sounds for each tone.

This type stacks the two lters together to intensify the characteristics of the lters. The TVA for tone 1 (or 3) controls the volume balance between the two tones.

Tone Delay Mode

Delay time

Note on

HOLD Although the tone begins to play after the time specied

OFF-N

in the Tone Delay Time has elapsed, if the key is released before the time specied in the Tone Delay Time has elapsed, the tone is not played.

Note on Note o

Rather than being played while the key is pressed, the tone begins to play once the period of time specied in the Tone Delay Time has elapsed after release of the key. This is eective in situations such as when simulating noises from guitars and other instruments.

Note o

No sound played

Delay time

Structure Type

1 & 2, 3 & 4

3 This type mixes the sound of tone 1 (3) and tone 2 (4),

4

5

6

applies a lter, and then applies a booster to distort the waveform.

This type applies a booster to distort the waveform, and then combines the two lters. The TVA for tone 1 (or 3) controls the volume balance between the two tones and adjusts booster level.

This type uses a ring modulator to create new overtones, and combines the two lters. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

This type uses a ring modulator to create new overtones, and in addition mixes in the sound of tone 2 (4) and stacks the two lters. Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

Note on Note o

6

Patch Mode

Parameter Value/Explanation

7

8

9

10 This type passes the ltered sound of each tone through a

MEMO

5When type 2–10 is selected and one tone of a pair is turned o, the other tone will be

sounded as type 1 regardless of the displayed setting.

5If you limit the keyboard area in which a tone will sound (Key Range Upper, Lower) or limit

the range of velocities for which it will sound (Velo Range Upper, Lower), the result in areas or ranges where the tone does not sound is just as if the tone had been turned o. This means that if type 2–10 is selected and you create a keyboard area or velocity range in which one tone of a pair does not sound, notes played in that area or range will be sounded by the other tone as TYPE 1 regardless of the displayed setting.

When a Structure Type of 3 or 4 is selected, you can adjust the depth of

Booster

1 & 2, 3 & 4

Key Fade Upper, Lower

Key Range

Upper, Lower

TMT Velocity Control

Velo Fade Upper, Lower

the booster. The booster increases the input signal in order to distort the sound. This creates the distortion eect frequently used with electric guitars. Higher settings will produce more distortion.

0, +6, +12, +18

This determines what will happen to the tone’s level when a note that’s higher/lower than the tone’s specied keyboard range is played. Higher settings produce a more gradual change in volume. If you don’t want the tone to sound at all when a note below the keyboard range is played, set this parameter to “0.”

0–127

Species the highest/lowest note that the tone will sound for each tone.

* If you attempt to raise the lower key higher than the upper key, or

(Upper) LOWER–G9, (Lower) C-1–UPPER

Level

Fade Lower

Range Lower Range Upper

TMT Velocity Control determines whether a dierent tone is played or not depending on the force with which the key is played (velocity).

* Instead of using Velocity, you can also have tones substituted using the

OFF Tones are not velocity-switched.

ON

RANDOM

CYCLE

This determines what will happen to the tone’s level when the tone is played at a velocity Upper/lower than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

0–127

This type applies a lter to tone 1 (3) and ring-modulates it with tone 2 (4) to create new overtones.

This type sends the ltered tone 1 (3) and tone 2 (4) through a ring modulator, and then mixes in the sound of tone 2 (4) and applies a lter to the result.

This type passes the ltered sound of each tone through a ring modulator to create new overtones. The tone 1 (3) TVA will control the volume balance of the two tones, adjusting the depth of ring modulator.

ring modulator to create new overtones, and also mixes in the sound of tone 2 (4). Since the ring-modulated sound can be mixed with tone 2 (4), tone 1 (3) TVA can adjust the amount of the ring-modulated sound.

to lower the upper key below the lower key, the other value will be automatically modied to the same setting.

Pitch

Fade Upper

Matrix control (p. 12). However, the keyboard velocity and the Matrix control cannot be used simultaneously to make dierent tones to sound. When using the Matrix control to switch tones, set the Velocity Control to “OFF.”

Tones are switched according to the keyboard playing velocity.

The patch’s constituent tones will sound randomly, regardless of the velocity.

The patch’s constituent tones will sound consecutively, regardless of the velocity.

Parameter Value/Explanation

Sets the highest/lowest velocity at which the tone will sound.

Velo Range

Upper, Lower

MEMO

When using the Matrix Control to have dierent tones played, set the lowest value (Lower) and highest value (Upper) of the value of the MIDI message used.

TMT Control Switch

* If you attempt to set the Lower velocity limit above the Upper, or the

Upper below the Lower, the other value will automatically be adjusted to the same setting.

(Upper) LOWER–127, (Lower) 1–UPPER

Level

Fade Lower

Range Lower Range Upper

Use the Matrix control to enable (ON), or disable (OFF) sounding of dierent tones.

* You can also cause dierent tones to sound in response to notes

played at dierent strengths (velocity) on the keyboard (p. 7). However, the Matrix control and the keyboard velocity cannot be used simultaneously to make dierent tones to sound. When you want to make the dierent tones to sound, set the TMT Velocity Control (p. 7) to “OFF.”

OFF, ON

Fade Upper

Velocity

PITCH

Parameter Value/Explanation

Adjusts the pitch of the tone’s sound up or down in semitone steps (±4

Tone Coarse Tune

Tone Fine Tune

Random Pitch Depth

Pitch Keyfollow

Pitch Bend Range

Up, Down

octaves).

-48–+48

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

0–1200

Species the amount of pitch change that will occur when you play a key one octave higher (i.e., 12 keys upward on the keyboard). If you want the pitch to rise one octave as on a conventional keyboard, set this to “+100.” If you want the pitch to rise two octaves, set this to “+200.” Conversely, set this to a negative value if you want the pitch to fall. With a setting of “0,” all keys will produce the same pitch.

-200–+200

Pitch

Key

Species the degree of pitch change in semitones when the Pitch Bend lever is all the way right (left). For example if this is set to “+48 (-48)” and you move the pitch bend lever all the way to the right (left), the pitch will rise (fall) 4 octaves.

(Up) 0–+48, (Down) 0– -48

7

Patch Mode

PITCH ENV

Parameter Value/Explanation

Adjusts the eect of the Pitch Envelope. Higher settings will cause the

Pitch Env Depth

Pitch Env V-Sens

Pitch Env T1 V-Sens

Pitch Env T4 V-Sens

Pitch Env Time KF

pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-12–+12

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less eect for strongly played notes, set this to a negative (-) value.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the pitch envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the pitch envelope times for the C4 key, positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

TVF

Parameter Value/Explanation

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

* If you set “LPF2” or “LPF3,” the setting for the Resonance (p. 8) will be

ignored .

OFF No lter is used.

LPF

BPF

HPF

PKG

LPF2

Filter Type

LPF3

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency in order to round o, or un-brighten the sound. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto frequency, and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency. This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency. You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the cuto frequency are cut, the sensitivity of this lter is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the cuto frequency are cut, the sensitivity of this lter changes according to the cuto frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

Pitch Env Time 1–4

2

Pitch Env Level 0–4

Key

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

0–127

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

-63–+63

Pitch

Note on

T: Time L: Level

Note o

Time

Cuto Frequency

2

Resonance

2

Cuto Keyfollow

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

“LPF/LPF2/LPF3” selected for the Filter Type

Lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

“BPF” selected for the Filter Type

Harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

“HPF” selected for the Filter Type

Higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

“PKG” selected for the Filter Type

The harmonics to be emphasized will vary depending on Cuto Frequency setting.

MEMO

To edit the overall patch while preserving the relative dierences in the Cuto Frequency values set for each tone, set the Cuto Oset (p. 4).

0–127

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

0–127

Use this parameter if you want the cuto frequency to change according to the key that is pressed. Relative to the cuto frequency at the C4 key (center C), positive (+) settings will cause the cuto frequency to rise for notes higher than C4, and negative (-) settings will cause the cuto frequency to fall for notes higher than C4. Larger settings will produce greater change.

-200–+200

Cuto frequency

(Octave)

Key

8

Patch Mode

Parameter Value/Explanation

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

Cuto V-Curve

Cuto V-Sens

Resonance V-Sens

FIXED, 1–7

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cuto frequency, use negative (-) settings.

MEMO

To edit the overall patch while preserving the relative dierences in the Cuto V-Sens values set for each tone, set the Velocity Sens Oset (p. 5). However, this setting is shared by the Level V-Sens (p. 10).

-63–+63

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

-63–+63

TVF ENV

Parameter Value/Explanation

Species the depth of the TVF envelope. Higher settings will cause the TVF

TVF Env Depth

TVF Env V-Curve

TVF Env V-Sens

TVF Env T1 V-Sens

TVF Env T4 V-Sens

envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-63–+63

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the TVF Envelope to be aected by the keyboard velocity.

FIXED, 1–7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater eect for strongly played notes, and negative (-) settings will cause the eect to be less.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

TVF Env Time Keyfollow

TVF Env Time 1–4

2

TVF Env Level 0–4

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

0–127

Cuto

Frequency

Note on

T: Time L: Level

Note o

Key

Time

9

Patch Mode

TVA

Parameter Value/Explanation

Sets the volume of the tone. This setting is useful primarily for adjusting

Tone Level

2

Level V-Curve

Level V-Sens

Bias Level

Bias Position

Bias Direction

Bias

Bias causes the volume to be aected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.

the volume balance between tones.

0–127

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the tone to be aected by the force with which you play the key, set this to “FIXED.”

FIXED, 1–7

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

MEMO

If you wish to make adjustments to the entire patch while maintaining the relative values of Level V-Sens among tones, adjust the Velocity Sens Oset (p. 5). However, this setting is shared by the Cuto V-Sens (p. 9).

-63–+63

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change. Negative (-) values will invert the change direction.

-100–+100

Species the key relative to which the volume will be modied.

C- –G9

Selects the direction in which change will occur starting from the Bias Position.

The volume will be modied for the keyboard area below the

LWR

Bias Point.

The volume will be modied for the keyboard area above the

UPR

Bias Point.

The volume will be modied symmetrically toward the left and

L&U

right of the Bias Point.

ALL The volume changes linearly with the bias point at the center.

Parameter Value/Explanation

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount

Alternate Pan Depth

MEMO

When any value from Type “2”–”10” is selected for the Structure Type (p. 6) in the Pan Keyfollow, Random Pan Depth, Alternate Pan Depth settings, the output of tones 1 and 2 are joined in tone 2, and the output of tones 3 and 4 are joined in tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4.

of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

L63–0–63R

TVA ENV

Parameter Value/Explanation

This allows keyboard dynamics to aect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this

TVA-Env T1 V-Sens

TVA-Env T4 V-Sens

TVA-Env Time KF

parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

Tone Pan

2

Pan Keyfollow

Random Pan Depth

Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this parameter if you want key position to aect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.

-100–+100

Pan

Key

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

0–63

TVA-Env Time 1–4

2

TVA-Env Level 1–3

Key

Specify the TVA envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specied in the TVA screen).

0–127

Level

Note on

T: Time L: Level

Note o

Time

10

Patch Mode

OUTPUT

Parameter Value/Explanation

Species how the direct sound of each patch will be output.

MFX

Patch Output Assign

Tone Output Assign

Tone Output Level

Tone Chorus Send

Tone Reverb Send

L+R

L, R

TONE Outputs according to the settings for each tone.

Species how the direct sound of each tone will be output.

* If the Patch Output Assign is set to anything other than “TONE,” these

settings will be ignored.

* When the Structure Type (p. 6) has a setting of “2”–”10,” the outputs

of tones 1 and 2 will be combined with tone 2, and the outputs of tones 3 and 4 will be combined with tone 4. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4.

* Chorus and reverb are output in mono at all times.

MFX

L+R

L, R

Set the level of the signal that is sent to the output destination specied by Patch Output Assign or Tone Output Assign.

0–127

Species the level of the signal sent to the chorus for each tone.

0–127

Species the level of the signal sent to the reverb for each tone.

0–127

LFO1, 2

Parameter Value/Explanation

Selects the waveform of the LFO.

* If you set this to “BD-U” or “BD-D,” you must turn the Key Trigger

parameter to “ON.” If this is “OFF,” it will have no eect.

SIN Sine wave

TRI Triangle wave

SAWU Sawtooth wave

SAWD Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

Waveform

Rate

2

Rate Detune

Oset

Delay Time

BD-U

BD-D

TRP Trapezoidal wave

S&H Sample & Hold wave (one time per cycle, LFO value is changed)

CHS Chaos wave

VSIN

STEP

Adjusts the modulation rate, or speed, of the LFO.

* This setting will be ignored if the Waveform parameter is set to “CHS.”

0–127, note

LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate) each time a key is pressed. Higher settings will cause greater change.

* This parameter is invalid when Rate is set to “note.”

0–127

Raises or lowers the LFO waveform relative to the central value (pitch or cuto frequency). Positive (+) settings will move the waveform so that modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.

-100, -50, 0, +50, +100

Delay Time (LFO Delay Time) species the time elapsed before the LFO eect is applied (the eect continues) after the key is pressed (or released).

* After referring to “How to Apply the LFO” (p. 12), change the setting

until the desired eect is achieved.

0–127

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

A waveform generated by the data specied by LFO Step 1–16. This produces stepped change with a xed pattern similar to a step modulator.

Parameter Value/Explanation

Adjusts the value for the Delay Time depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO eect is applied (the eect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO eect is applied (the eect is continuous) to change according to the key pressed, set this to “0.”

-100–+100

Time

Delay Time KF

Species how the LFO will be applied.

Fade Mode

Fade Time

Key Trigger

Pitch Depth

2

TVF Depth

2

TVA Depth

2

Pan Depth

2

* After referring to “How to Apply the LFO” (p. 12), change the setting

until the desired eect is achieved.

ON <, ON >, OFF <, OFF >

Species the time over which the LFO amplitude will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p. 12), change the setting

until the desired eect is achieved.

0–127

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

OFF, ON

Species how deeply the LFO will aect pitch.

-63–+63

Species how deeply the LFO will aect the cuto frequency.

-63–+63

Species how deeply the LFO will aect the volume.

-63–+63

Species how deeply the LFO will aect the pan.

MEMO

When the Structure Type (p. 6) is set to any value from “2” through “10,” the output of tones 1 and 2 will be combined into tone 2, and the output of tones 3 and 4 will be combined into tone 4. This applies to the Pan Depth settings. For this reason, tone 1 will follow the settings of tone 2, and tone 3 will follow the settings of tone 4.

-63–+63

STEP LFO

Parameter Value/Explanation

When generating an LFO waveform from the data specied in LFO

Step Type

LFO Step 1–16

Step1–16, specify whether the level will change abruptly at each step (TYP1) or will be connected linearly ( TYP2).

TYP1, TYP2

Species the data for the Step LFO. If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

-36–+36

Key

11

Patch Mode

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Parameter Value/Explanation

Fade Mode ON <

Delay Time

Fade Time

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

Parameter Value/Explanation

Fade Mode ON >

Delay Time The time that the LFO will continue after the keyboard is played.

Fade Time

Apply the LFO gradually after the key is released

The time from when the keyboard is played until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

CTRL

Parameter Value/Explanation

When a loop waveform is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NOSUS.”

* If a one-shot type waveform is selected, it will not sustain even if this

parameter is set to “SUST.”

NOSUS, SUST

MEMO

5One-shot: These waveforms contain sounds that have short decays. A

Env Mode

Rx Bender

Rx Expression

Rx Hold-1

Rx Pan Mode

Redamper Sw

one-shot waveform records the initial rise and fall of the sound. Some of the JUNO-DS’s one-shot waveforms are sounds that are complete in themselves, such as percussive instrument sounds. The JUNO-DS also contains many other one-shot waveforms that are elements of other sounds. These include attack components such as piano-hammer sounds and guitar fret noises.

5Looped: These waveforms include sounds with long decays as well

as sustained sounds. Loop waveforms repeatedly play back (loop) the portion of the waveform after the sound has reached a relatively steady state. The JUNO-DS’s looped waveforms also include components of other sounds, such as piano-string resonant vibrations and the hollow sounds of brass instruments.

For each tone, specify whether MIDI Pitch Bend messages will be received (ON), or not (OFF).

OFF, ON

For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

OFF, ON

For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

* If “NOSUS” is selected for Env Mode parameter, this setting will have no

eect.

OFF, ON

For each tone, specify how pan messages will be received.

* The channels cannot be set so as not to receive Pan messages.

CONT

K-ON

You can specify, on an individual tone basis, whether or not the sound will be held when a Hold 1 message is received after a key is released, but before the sound has decayed to silence. If you want to sustain the sound, set this “ON.” When using this function, also set the Rx Hold-1 “ON.” This function is eective for piano sounds.

OFF, ON

Whenever Pan messages are received, the stereo position of the tone will be changed.

The pan of the tone will be changed only when the next note is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

Parameter Value/Explanation

Fade Mode OFF <

Delay Time

Fade Time

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

Parameter Value/Explanation

Fade Mode OFF >

Delay Time The time that the LFO will continue after the keyboard is released.

Fade Time

The time from when the keyboard is released until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

Matrix control

Ordinarily, if you wanted to change tone parameters using an external MIDI device, you would need to send System Exclusive messages—MIDI messages designed exclusively for the JUNO-DS. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the JUNO-DS’s tone parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. This provides you with a variety of means of changing the way patches are played. For example, you can use the Pitch Bend lever to change the LFO cycle rate, or use the keyboard’s touch to open and close a lter. The function which allows you use MIDI messages to make these changes in realtime to the tone parameters is called the Matrix control. Up to four Matrix Controls can be used in a single patch. To use the Matrix control, specify which MIDI message (Source) will be used to control which parameter (Dest), and how greatly (Sens), and the tone to which the eect is applied (Switch).

12

Patch Mode

MTRX CTRL1–4

Parameter Value/Explanation

Sets the MIDI message used to change the tone parameter with the Matrix Control.

OFF Matrix control will not be used.

CC01–32, 33–95 Controller numbers 1–32, 33–95

PITCH BEND Pitch Bend

AFTERTOUCH After touch

SYS CTRL1–SYS

Control 1–4 Source

5Although there are no MIDI messages for LFO 1 through TVA Envelope, they can be used as

Matrix Control. In this case, you can change the tone settings in realtime by playing patches.

5If you want to use common controllers for the entire JUNO-DS, select “SYS CTRL1”–”SYS

CTRL4.” MIDI messages used as System Control 1–4 are set with the System Ctrl 1–4 Source (p. 34).

MEMO

5There are parameters that determine whether or not Pitch bend, Controller number 11

(Expression) and Controller number 64 (Hold 1) are received (p. 12). When these settings are “ON,” and the MIDI messages are received, then when any change is made in the settings of the desired parameter, the Pitch bend, Expression, and Hold 1 settings also change simultaneously. If you want to change the targeted parameters only, then set these to “OFF.”

5There are parameters that let you specify whether specic MIDI messages will be received

for each channel in a performance (p. 20). When a patch with Matrix control settings is assigned to a part, conrm that any MIDI messages used for the Matrix control will be received. If the JUNO-DS is set up such that reception of MIDI messages is disabled, then the Matrix control will not function.

Control Dest1–4

CTRL4

VELOCITY Velocity (pressure you press a key with)

KEY FOLLOW Key follow (keyboard position with C4 as 0)

* Velocity and Key follow correspond to Note messages.

TEMPO

LFO1, 2 LFO1, 2

PITCH ENV Pitch envelope

TVF ENV T VF envelope

TVA ENV T VA envelope

Matrix control destination selects the tone parameter that is to be controlled when using the Matrix control. The following parameters can be controlled. When not controlling parameters with the Matrix Control, set this to “OFF.” Up to four parameters can be specied for each Matrix Control, and controlled simultaneously.

OFF Matrix control will not be used.

Changing the pitch

PCH Changes the pitch.

Opening and closing the lter

CUT Changes the cuto frequency.

RES

Changing the volume and pan

LEV Changes the volume level.

PAN Changes the pan.

Changing how the eects are applied

DRY Changes the volume of the original sound.

CHO Changes the amount of chorus.

REV Changes the amount of reverb.

Applying LFO to modulate sounds

PIT-LFO1, 2 Changes the vibrato depth.

TVF-LFO1, 2 Changes the wah depth.

TVA-LFO1, 2 Changes the tremolo depth.

PAN-LFO1, 2 Changes the eect that the LFO will have on pan.

LFO-RATE

Changing the Pitch Envelope

PIT-ATK Changes the Env Time 1of the pitch envelope.

PIT-DCY

PIT-REL Changes the Env Time 4 of the pitch envelope.

Changing the TVF Envelope

TVF-ATK Changes the Env Time 1 of the TVF envelope.

TVF-DCY

TVF-REL Changes the Env Time 4 of the TVF envelope.

Changing the TVA Envelope

T VA-AT K Changes the Env Time 1 of the TVA envelope.

TVA-DCY

TVA-REL Changes the Env Time 4 of the TVA envelope.

Splitting tones that are played

TMT

MIDI messages used as common matrix controls.

The specied tempo (sequencer tempo) or the tempo of an external MIDI sequencer.

Emphasizes the overtones in the region of the cuto frequency, adding character to the sound.

Changes the speed of the LFO cycles. The speed will not change if LFO Rate is set to “note.”

Changes the Env Time 2 and Env Time 3 of the pitch envelope.

Changes the Env Time 2 and Env Time 3 of the TVF envelope.

Changes the Env Time 2 and Env Time 3 of the TVA envelope.

5If the Matrix control is used to split tones, set the

TMT Velocity Control to “OFF,” and the TMT Control Switch to “ON” (p. 7).

5If the Matrix control is used to split tones, we

recommend setting the Matrix control Sens to “+63.” Selecting a lower value may prevent switching of the tones. Furthermore, if you want to reverse the eect, set the value to “-63.”

5If you want to use matrix control to switch smoothly

between tones, use the Velo Fade Lower and Velo Fade Upper (p. 7). The higher the values set, the smoother the switch is between the tones.

Parameter Value/Explanation

Changing the depth of frequency modulation for FXM

FXM

Changing specic MFX parameters

MFX1–4

Sets the amount of the Matrix Control’s eect that is applied. If you wish to modify the selected parameter in a positive (+) direction—i.e., a higher value, toward the right, or faster etc. —from its current setting, select a positive (+) value. If you wish to modify the selected parameter in

Control Sens1–4

Control Switch1–4

a negative (-) direction—i.e., a lower value, toward the left, or slower etc. —from its current setting, select a negative (-) value. For either positive or negative settings, greater absolute values will allow greater amounts of change. Set this to “0” if you don’t want to apply the eect.

-63–+63

Selects the tone to which the eect is applied when using the Matrix Control.

OFF The eect will not be applied.

ON The eect will be applied.

REVS The eect will be applied in reverse.

Change the parameter that was specied by MFX Control 1–4 Assign.

* If you have not made the necessary settings for

using the MFX, the MFX will not be applied even if you attempt to control it as a Matrix control destination.

13

Patch Mode

Drum Kit Parameters

MEMO

A drum kit consists of a percussion instrument sound (tone) assigned to each key. The tone that’s assigned to each key consists of a combination of up to four waves. Drum Kit Edit lets you edit the settings of the tone that’s assigned to each key.

COMMON

Parameter Value/Explanation

A0–C8

(Tone name)

Drum Kit Level

Tone Name

Assign Type

Mute Group

Tone Env Mode

Tone Pitch Bend Range

Tone Rx Expression

Tone Rx Hold-1

Rx Pan Mode

One Shot Mode

Species the key to which the tone you want to edit is assigned.

* You can also press a key to select this.

Sets the volume of the drum kit.

0–127

Changes the name (tone name) of the tone that’s assigned to the specied key.

Refer to “Editing the tone name” (p. 14).

Sets the way sounds are played when the same key is pressed a number of times.

Layer the sound of the same keys. Even with continuous sounds where the sound plays for an extended time, such as

MULTI

with crash cymbals, the sounds are layered, without previously played sounds being eliminated.

Only one sound can be played at a time when the same key is pressed. With continuous sounds where the sound plays for

SINGLE

an extended time, the previous sound is stopped when the following sound is played.

On an actual acoustic drum set, an open hi-hat and a closed hi-hat sound can never occur simultaneously. To reproduce the reality of this situation, you can set up a Mute Group. The Mute Group function allows you to designate two or more tones that are not allowed to sound simultaneously. Up to 31 Mute Groups can be used. Tones that are not belong to any such group should be set to “OFF.”

OFF, 1–31

When a loop waveform (p. 12) is selected, the sound will normally continue as long as the key is pressed. If you want the sound to decay naturally even if the key remains pressed, set this to “NO-SUS.”

* If a one-shot type waveform (p. 12) is selected, it will not sustain even

if this parameter is set to “SUSTAIN.”

NO-SUS, SUSTAIN

Species the amount of pitch change in semitones (4 octaves) that will occur when the pitch bend lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides.

0–48

For each tone, specify whether MIDI Expression messages will be received (ON), or not (OFF).

OFF, ON

For each tone, specify whether MIDI Hold-1 messages will be received (ON), or not (OFF).

* If “NO-SUS” is selected for Tone Env Mode (p. 14), this setting will have

no eect.

OFF, ON

For each tone, specify how pan messages will be received.

* The channels cannot be set so as not to receive Pan messages.

Whenever Pan messages are received, the stereo position of

CONT

the tone will be changed.

The pan of the tone will be changed only when the next note

K-ON

is played. If a pan message is received while a note is sounding, the panning will not change until the next key is pressed.

The sound will play back until the end of the waveform (or the end of the envelope, whichever comes rst). The result will be the same as when the envelope’s Tone Env Mode (p. 14) is set to “NO-SUS.”

OFF, ON

Editing the tone name

Move the cursor to “Tone Name,” and press the [ENTER] button.

1.

The DRUM KIT TONE NAME screen appears.

Assign a tone name

2.

Operation Explanation

[K] [J] buttons Move the cursor.

Value dial, [–] [+] buttons Select the character.

[I] [H] buttons Switch between uppercase and lowercase.

Inserting/ Deleting Characters

While entering a name, press the [MENU] button.

1.

The NAME MENU window appears. The window closes if you press the button once again.

Move the cursor to “INSERT” or “DELETE,” and press the [ENTER] button.

2.

Function Explanation

INSERT Press the [ENTER] button to insert a space (blank) at the cursor location.

DELETE

Press the [ENTER] button to delete the character at the cursor location; subsequent characters will be moved forward to ll the gap.

WAVE

Parameter Value/Explanation

1– *4

*

Wave Group

Wave No. L (Mono)

Wave No. R

Wave Gain

Wave Tempo Sync

Wave FXM Switch

Wave FXM Color

Wave FXM Depth

Wave Coarse Tune

Wave Fine Tune

Wave Level

Wave Pan

Wave Random Pan Sw

Wave Alter Pan Sw

Specify the on/o status of tones 1–4. If a tone is on, a “(” mark is shown.

OFF, ON

Select the groups containing the Waves comprising the tone.

INTA, B Waveforms stored in internal

EXP Waveforms for expansion sounds

Selects the Waves comprising the tone. Along with the Wave number, the Wave name appears at the lower part of the display. When in mono, only the left side (L) is specied. When in stereo, the right side (R) is also specied.

OFF, 1–2402 (The upper limit will depend on the wave group.)

Sets the gain (amplication) of the waveform. The value changes in 6 dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.

-6, 0, +6, +12

When you wish to synchronize a Phrase Loop to the clock (tempo), set this to “ON.”

OFF, ON

Sets whether FXM will be used (ON) or not (OFF).

OFF, ON

Species how FXM will perform frequency modulation. Higher settings result in a grainier sound, while lower settings result in a more metallic sound.

1–4

Species the depth of the modulation produced by FXM.

0–16

Adjusts the pitch of the waveform’s sound up or down in semitone steps (±4 octaves).

-48–+48

Adjusts the pitch of the waveform’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Sets the volume of the waveform.

0–127

Species the pan of the waveform. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this setting to cause the waveform’s panning to change randomly each time a key is pressed (ON) or not (OFF).

* The range of the panning change is set by the Random Pan Depth

(p. 16).

OFF, ON

This setting causes panning of the waveform to be alternated between left and right each time a key is pressed.

OFF Pan does not change.

ON

REVS The waveform is panned in reverse.

WMT

Parameter Value/Explanation

WMT Velocity Control determines whether a dierent tone is played or not depending on the force with which the key is played (velocity).

WMT Velocity Control

Velo Fade Upper, Lower

Velo Range

Upper, Lower

OFF Waveforms are not velocity-switched.

ON

RANDOM

This determines what will happen to the tone’s level when the tone is played at a velocity Upper/lower than its specied velocity range. Higher settings produce a more gradual change in volume. If you want notes played outside the specied key velocity range to not be sounded at all, set this to “0.”

0–127

This sets the highest/lowest velocity at which the waveform will sound. Make these settings when you want dierent waveforms to sound in response to notes played at dierent strengths.

* If you attempt to set the Lower velocity limit above the Upper, or the

Upper below the Lower, the other value will automatically be adjusted to the same setting.

(Upper) LOWER–127, (Lower) 1–UPPER

The waveform is panned according to the Alternate Pan Depth (p. 16) setting.

Waveforms are switched according to the keyboard playing velocity.

The waveform’s constituent tones will sound randomly, regardless of the velocity.

When you’ve specied the name, press the [ENTER] button.

3.

14

Patch Mode

Parameter Value/Explanation

Level

Fade Lower

Range Lower Range Upper

PITCH

Parameter Value/Explanation

Tone Coarse Tune

Tone Fine Tune

Tone Random Pitch Depth

Selects the pitch at which a tone sounds.

C- –G9

Adjusts the pitch of the tone’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Species the width of random pitch deviation that will occur each time a key is pressed. If you do not want the pitch to change randomly, set this to “0.” These values are in units of cents (1/100th of a semitone).

0–1200

PITCH ENV

Parameter Value/Explanation

Adjusts the eect of the Pitch Envelope. Higher settings will cause the

Pitch Env Depth

Pitch Env V-Sens

Pitch Env T1 V-Sens

Pitch Env T4 V-Sens

Pitch Env Time 1–4

Pitch Env Level 0–4

pitch envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-12–+12

Keyboard playing dynamics can be used to control the depth of the pitch envelope. If you want the pitch envelope to have more eect for strongly played notes, set this parameter to a positive (+) value. If you want the pitch envelope to have less eect for strongly played notes, set this to a negative (-) value.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the Pitch envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this parameter when you want key release speed to aect the Time 4 value of the pitch envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Specify the pitch envelope times (Time 1–Time 4). Higher settings will result in a longer time until the next pitch is reached. (For example, Time 2 is the time over which the pitch changes from Level 1 to Level 2.)

0–127

Specify the pitch envelope levels (Level 0–Level 4). It determines how much the pitch changes from the reference pitch (the value set with Coarse Tune or Fine Tune on the Pitch screen) at each point. Positive (+) settings will cause the pitch to be higher than the standard pitch, and negative (-) settings will cause it to be lower.

-63–+63

Pitch

Note on

Fade Upper

Note o

Velocity

Time

TVF

Parameter Value/Explanation

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

* If you set “LPF2” or “LPF3,” the setting for the Resonance will be ignored

(p. 15).

OFF No lter is used.

LPF

BPF

HPF

PKG

LPF2

Filter Type

LPF3

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

“LPF/LPF2/LPF3” selected for the Filter Type

Lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

“BPF” selected for the Filter Type

Harmonic components will change depending on the TVF Cuto

Cuto Frequency

Resonance

Cuto V-Curve

Frequency setting. This can be useful when creating distinctive sounds.

“HPF” selected for the Filter Type

Higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

“PKG” selected for the Filter Type

The harmonics to be emphasized will vary depending on Cuto Frequency setting.

0–127

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

0–127

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

FIXED, 1–7

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency in order to round o, or un-brighten the sound. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of the cuto frequency, and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below the cuto frequency. This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency. You can use this to create wah-wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the cuto frequency are cut, the sensitivity of this lter is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the cuto frequency are cut, the sensitivity of this lter changes according to the cuto frequency. While this lter is also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

T: Time L: Level

Cuto V-Sens

Resonance V-Sens

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cuto frequency, use negative (-) settings.

-63–+63

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

-63–+63

15

Patch Mode

TVF ENV

Parameter Value/Explanation

Species the depth of the TVF envelope. Higher settings will cause the TVF

TVF Env Depth

TVF Env V-Curve

TVF Env V-Sens

TVF Env T1 V-Sens

TVF Env T4 V-Sens

TVF Env Time 1–4

TVF Env Level 0–4

envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-63–+63

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the TVF Envelope to be aected by the keyboard velocity.

FIXED, 1–7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater eect for strongly played notes, and negative (-) settings will cause the eect to be less.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

0–127

Cuto

Frequency

Note on

T: Time L: Level

TVA

Parameter Value/Explanation

Sets the volume of the tone. Use this parameter to adjust the volume

Tone Level

Level V-Curve

Level V-Sens

Tone Pan

Random Pan Depth

Alternate Pan Depth

balance between tones.

0–127

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the tone to be aected by the force with which you press the key, select “FIXED.”

FIXED, 1–7

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

-63–+63

Sets the pan for the tone. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

* This will aect only waves whose Wave Random Pan Sw (p. 14) is “ON.”

0–63

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right. For example if two tones are set to “L” and “R” respectively, the panning of the two tones will alternate each time they are played.

* This will aect only waves whose Wave Alter Pan Sw (p. 14) is “ON” or

“REVS.”

L63–0–63R

Note o

Time

Parameter Value/Explanation

Corrects for the volume of the tone. This parameter is set by the key-based controller system exclusive

Relative Level

message. Normally, you should leave it set to 0.

* If the Tone Level is set to 127, the volume will not increase beyond that

point.

-64–+63

TVA-ENV

Parameter Value/Explanation

This allows keyboard dynamics to aect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this

TVA-Env T1 V-Sens

TVA-Env T4 V-Sens

TVA-Env Time 1–4

TVA-Env Level 1–3

parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Specify the TVA envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specied in the TVA screen).

0–127

Level

Note on

T: Time L: Level

OUTPUT

Parameter Value/Explanation

Species for each drum kit how the direct sound will be output.

MFX

Rhythm Output Assign

Tone Output Assign

Tone Output Level

Tone Chorus Send

Tone Reverb Send

L+R

L, R

TONE Outputs according to the settings for each tone.

Species how the direct sound of each tone will be output.

* If the Rhythm Output Assign is set to anything other than “TONE,” these

settings will be ignored.

* Chorus and reverb are output in mono at all times.

MFX

L+R

L, R

Set the level of the signal that is sent to the output destination specied by Patch Output Assign or Tone Output Assign.

0–127

Species the level of the signal sent to the chorus for each tone.

0–127

Species the level of the signal sent to the reverb for each tone.

0–127

Time

Note o

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

16

Eects Edit

In Patch mode you can use multi eects (MFX), chorus, and reverb.

Signal Flow

Patch Mode

When a patch is selected

Make these settings in the “OUTPUT” tab of the PATCH EDIT screen.

When a drum kit is selected

Make these settings in the “OUTPUT” tab of the DRUM KIT EDIT screen.

Tone Output Level

1

Tone Chorus Send

2

Tone Reverb Send

3

Patch Output Assign

4

Tone Output Assign

5

Tone Output Level

1

Tone Chorus Send

2

Tone Reverb Send

3

Rhythm Output Assign

4

Tone Output Assign

5

p. 11

p. 16

MFX Type

6

Output Level

Make these settings in the “MFX” tab of the EFFECTS EDIT screen.

Make these settings in the “CHORUS” tab of the EFFECTS EDIT screen.

Make these settings in the “REVERB” tab of the EFFECTS EDIT screen.

7

Chorus Send Level

8

Reverb Send Level

9

Chorus Type

10

Chorus Level

11

Output Select

12

Reverb Type

13

Reverb Level

14

Procedure

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

1.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “EFFECTS EDIT,” and press the [ENTER] button.

2.

The EFFECTS EDIT screen appears.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

3.

Move the cursor to the parameter that you want to edit, and use the value

4.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

5.

(Write)” (refer to owner’s manual).

p. 18

17

Patch Mode

Eects Parameters

MFX

Parameter Value/Explanation

Turns MFX on/o, and species the type of MFX that is used. If MFX is on,

shows a “(” mark.

MFX Type

Parameters for each MFX type

Output Level

Chorus Send Level

Reverb Send Level

8

* For details on MFX, refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

00: THRU–80: BIT CRUSHER

Edit the parameters of the MFX type you’ve selected.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Adjusts the volume of the sound that has passed through the MFX. If you’re applying a MFX, this species the depth of the MFX. If you’re not applying a MFX, this species the volume of the original sound.

0–127

Species the level of the signal sent to the chorus.

0–127

Species the level of the signal sent to the reverb.

0–127

MFX control

If you wanted to change the volume of MFX sounds, the delay time of Delay, and the like, using an external MIDI device, you would need to send System Exclusive messages-MIDI messages designed exclusively for the JUNO-DS. However, System Exclusive messages tend to be complicated, and the amount of data that needs to be transmitted can get quite large. For that reason, a number of the more typical of the JUNO-DS’s MFX parameters have been designed so they accept the use of Control Change (or other) MIDI messages for the purpose of making changes in their values. For example, you can use the Pitch Bend lever to change the amount of distortion, or use the keyboard’s touch to change the delay time of Delay. The parameters that can be changed are predetermined for each type of MFX; among the parameters described in “MFX parameters” (p. 40), these are indicated by a “#.” The function that allows you use MIDI messages to make these changes in realtime to the MFX parameters is called the MFX control. Up to four MFX controls can be used in a single patch/drum kit/performance. When the MFX control is used, you can select the amount of control (Sens) applied, the parameter selected (Destination), and the MIDI message used (Source).

MEMO

By using the Matrix control instead of the MFX control, you can also change the parameters of some popular MFX in realtime (p. 12).

CHORUS

Parameter Value/Explanation

Turns Chorus on/o, and species the type of chorus that is used. If Chorus is on,

8

Chorus Type

Parameters for each chorus type

Output Select

Chorus Level

00: OFF Neither chorus or delay is used.

01: CHORUS Chorus is used.

02: DELAY Delay is used.

03: GM2 CHORUS GM2 chorus

Set the parameters of the selected chorus type.

* Refer to “Chorus Parameters” (p. 58).

Species how the sound routed through chorus will be output.

MAIN Output to the OUTPUT jacks in stereo.

REV Output to reverb in mono.

M+R

Adjusts the volume of the sound that has passed through chorus.

0–127

REVERB

Parameter Value/Explanation

Turns Reverb on/o, and species the type of reverb that is used. If Reverb is on,

8

00: OFF Reverb is not used.

01: REVERB Normal reverb

Reverb Type

Parameters for each reverb type

Reverb Level

02: SRV ROOM

03: SRV HALL

04: SRV PLATE

05: GM2 REVERB GM2 reverb

Set the parameters of the selected reverb type.

* Refer to “Reverb Parameters” (p. 58).

Adjusts the volume of the sound that has passed through reverb.

0–127

shows a “(” mark.

Output to the OUTPUT jacks in stereo, and to reverb in mono.

This reverb simulates typical room acoustic reections.

This reverb simulates typical concert hall acoustic reections.

This reverb simulates a reverb plate, a popular type of articial reverb unit that derives its sound from the vibration of a metallic plate.

MFX CTRL

Parameter Value/Explanation

Sets the MIDI message used to change the MFX parameter with the MFX control.

OFF MFX control will not be used.

Source 1–4

Destination 1–4

Sens 1–4

CC01–31, 33–95 Controller numbers 1–31, 33–95

PITCH BEND Pitch bend

AFTERTOUCH After touch

SYS CTRL1–4 Use the System Control 1–4 Source setting (p. 34).

Sets the MFX parameters to be controlled with the Source 1–4. The MFX parameters available for control will depend on the MFX Type.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Species the depth of MFX control. Specify a positive (+) value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative value (-) if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

-63–+63

18

Performance Mode

Performance Edit

MEMO

PERFORMANCE EDIT and PART EDIT have the same parameters in common.

Procedure

Press the [PATCH/PERFORM] button to make it light.

1.

Select a performance that you want to edit.

2.

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

3.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “PERFORMANCE EDIT,” and press the [ENTER] button.

4.

The PERFORM EDIT screen appears.

MEMO

5In the PERFORM EDIT screen, you can use pads [1]–[8] to select the part that

you want to edit. If you hold down the [SHIFT] button and press a pad [1]–[8], a part 9–16 is selected.

5In the PERFORM EDIT screen, press the [MENU] button to open the INIT MENU

window. Select “PERFORM” or “PART” and press the [ENTER] button to initialize the selected performance or part.

Performance Parameters

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

5.

Move the cursor to the parameter that you want to edit, and use the value

6.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

7.

(Write)” (refer to owner’s manual).

PATC H

Parameter Value/Explanation

Type

Bank

Number

Kbd

Sets the assignment of a patch (Pat) or drum kit (Drm) to each of the parts.

Pat, Drm

Selects the group to which the desired patch or drum kit belongs.

DS (DS tone), PRST (Preset), GM (GM2 tone), EXP (expansion sounds), USER

Selects the desired patch or drum kit by its number.

0001–

Species, for each part, whether or not the keyboard controller section will be connected to the internal sound generator.

OFF, ON

LEVEL/CH

Parameter Value/Explanation

Turns on the part that you want to solo. Parts other than the soloed part

Solo

Mute

Level

Pan

RxCh

RxSw

are not heard.

OFF, ON

Species whether each part’s performance is temporarily muted (ON) or not muted (OFF).

* The Mute parameter does not turn the part o; it mutes the sound by

minimizing the volume. Therefore, the part still receives MIDI messages.

OFF, ON

Adjust the volume of each part. This setting’s main purpose is to adjust the volume balance between parts.

0–127

Adjust the pan of each part. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Species the MIDI receive channel for each part.

1–16

For each part, specify whether MIDI messages will be received (ON), or not (OFF). If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it “OFF” when you do not want a specic part to be playing during song playback.

OFF, ON

OUTPUT

Parameter Value/Explanation

Species for each part how the direct sound will be output.

MFX

Out

Sel

Lev

Cho

L+R

L, R

PATC H Outputs according to the settings for patch.

Of the three types of MFX that can be used simultaneously, specify which MFX will be used.

1–3 (MFX1–MFX3)

Set the level of the signal that is sent to the output destination specied by Part Output Assign.

0–127

Sets the level of the signal sent to chorus for each part.

0–127

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

Parameter Value/Explanation

Rev

1–3

C

R

Sets the level of the signal sent to reverb for each part.

0–127

Turn MFX 1–3 on/o for each part. If turned on, a “(” mark appears.

O (–), On (

Turn Chorus on/o for each part. If turned on, a “(” mark appears.

O (–), On (

Turn Reverb on/o for each part. If turned on, a “(” mark appears.

O (–), On (

PITCH

Parameter Value/Explanation

Adjusts the pitch of the part’s sound up or down in units of an octave (±3

Oct

Crs

Fine

Mono

Legt

Bend

Port

Time

octaves).

* Note that when a rhythm set is assigned to a part, you cannot modify

the Octave Shift.

-3–+3

Adjusts the pitch of the part’s sound up or down in semitone steps (±4 octaves).

-48–+48

Adjusts the pitch of the part’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY” when the patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

MONO, POLY, PAT

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Legato Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

OFF, ON, PAT

Species the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 7), set this to “PAT.”

0–24, PAT

Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

OFF, ON, PAT

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

0–127, PAT

(

)

(

)

(

)

19

Performance Mode

KBD

Parameter Value/Explanation

Species, for each part, whether or not the keyboard controller section will be connected to the internal sound generator and MIDI OUT.

Kbd

RngLo, RngUp

V-Sens

(Velocity Sensitivity Oset)

V-Rsv

Oct

Normally you will leave this o; you can turn it on if you want to layer sounds.

OFF, ON

Species the lowest/highest note that the tone will sound for each part.

* When the Key Range (p. 7) is set for each individual tone in a patch,

sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.

C- –G9

Key range specied for Performance

The range in which notes will play

This changes the volume and cuto frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cuto frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a xed volume and cuto frequency, regardless of the force with which the keys are played.

* Patches also contain a Velocity Sensitivity Oset setting (p. 5). The

ultimate Velocity Sensitivity Oset value is the sum of the part’s and the patch’s Velocity Sensitivity Osets. Accordingly, if the patch’s Velocity Sensitivity Oset is set to “127” (maximum), there will be no change in the part’s Velocity Sensitivity Oset, even when this is set to a positive value.

-63–+63

Species the number of voices that will be reserved for each part when more than 128 voices are played simultaneously.

* It is not possible for the settings of all parts to total an amount greater

than 128.

0–63, FULL

Adjusts the pitch of the part’s sound up or down in units of an octave (±3 octaves).

* Note that when a drum kit is assigned to a part, you cannot modify the

Octave Shift.

-3–+3

Key range specied for Patch

Calculating the number of voices being used

The JUNO-DS is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played. (number of sounds being played) x (number of tones used by patches being played) x (number of waves used in the tones) Realtime Stretch requires twice the normal polyphony.

OFFSET

Parameter Value/Explanation

Adjusts the cuto frequency for the patch or drum kit assigned to a part.

* Patches also have a Cuto Oset setting (p. 4). The nal cuto

Cuto

(Cuto Oset)

Reso

(Resonance Oset)

Attack

(Attack Time

Oset)

Decay

Release

(Release Time Oset)

frequency value is the sum of the tone Cuto Frequency value and the patch and part Cuto Oset values. If the tone’s cuto frequency is already set to “127” (maximum), there will be no change produced by setting the Cuto Oset to a positive value.

-64–+63

Adjusts the Resonance for the patch or rhythm set assigned to a part.

* Patches also have a Resonance Oset setting (p. 4). The nal

Resonance value is the sum of the tone Resonance value and the patch and part Resonance Oset values. If the tone’s resonance is already set to “127” (maximum), there will be no change produced by setting the resonance oset to a positive value.

-64–+63

Adjusts the TVA/TVF Envelope Attack Time for the patch or drum kit assigned to a part.

* Patches also contain the Attack Time Oset setting (p. 4). The nal

TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting, the patch’s Attack Time Oset, and the part’s Attack Time Oset. If the tone’s Time 1 is already set to “127” (maximum), there will be no change produced by setting the Attack Time Oset to a positive value. The same applies to the TVF envelope.

-64–+63

Adjusts the TVA/TVF Envelope Decay Time for the patch or drum kit assigned to a part.

-64–+63

Adjusts the TVA/TVF Envelope Release Time for the patch or drum kit assigned to a part.

* Patches also contain a Release Time Oset setting (p. 4). The nal

TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release Time Oset, and the part’s Release Time Oset. If the tone’s Time 4 is set to “127” (maximum), there will be no change in the Release Time Oset, even when this is set to a positive value. The same applies to the TVF envelope.

-64–+63

VIBRATO

Parameter Value/Explanation

For each part, adjust the vibrato speed (the rate at which the pitch is

Rate

Depth

Delay

modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

-64–+63

For each part, this adjusts the depth of the vibrato eect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

-64–+63

For each part, this adjusts the time delay until the vibrato (pitch modulation) eect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

-64–+63

SCALE

Parameter Value/Explanation

C–B

Make scale tune settings for each part.

-64–+63

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music.

Just Temperament (Tonic of C)

Compared with equal temperament, the principle triads sound pure in this tuning. However, this eect is achieved only in one key, and the triads will become ambiguous if you transpose.

Arabian Scale

In this scale, E and B are a quarter note lower and C higher compared to equal temperament. The intervals between G and B, C and E, F

¾

, B² and C¾, and E² and F¾ have a natural third—the interval between a major

and G third and a minor third. On the JUNO-DS, you can use Arabian temperament in the

¾

, F¾ and G¾ are a quarter-note

three keys of G, C and F.

Note

name

C 0 0 -6

¾

C

D 0 +4 -2

²

E

E 0 -14 -51

F 0 -2 -8

¾

F

G 0 +2 -4

¾

G

A 0 -16 0

²

B

B 0 -12 -49

Equal

temperament

Just Temperament

(tonic C)

0 -8 +45

0 +16 -12

0 -10 +43

0 +14 +47

0 +14 -10

Arabian Scale

MIDI

Parameter Value/Explanation

For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF). Assigning a check mark (() will enable reception.

PC Program Change

BS Bank Selec t

PB Pitch Bend

PA Polyphonic Aftertouch

CA Channel Aftertouch

MD Modulation

VO Volume

PN Pan

EX Expression

HD Hold 1

PC–VC

Set PL (phase lock) to “(” (ON) when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

* When the PL (phase lock) is set to “ON,” parts on the same MIDI

channel are put in a condition in which their timing is matched,

PL

enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

Selects Velocity Curve for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “–” (OFF) if you are using the MIDI keyboard’s own

VC

velocity curve.

20

Part Edit

MEMO

5PART EDIT and PERFORMANCE EDIT have the same parameters in common. 5If you’re using the pattern sequencer, the part edit settings are saved as a “pattern.”

Procedure

Press the [PATCH/PERFORM] button to make it light.

1.

Select a performance that you want to edit.

2.

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

3.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “PART EDIT,” and press the [ENTER] button.

4.

The PART EDIT screen appears.

MEMO

5In the PART EDIT screen, you can use pads [1]–[8] to select the part that you

want to edit. If you hold down the [SHIFT] button and press a pad [1]–[8], a part 9–16 is selected.

Performance Parameters

Performance Mode

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

5.

Move the cursor to the parameter that you want to edit, and use the value

6.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

7.

(Write)” (refer to owner’s manual).

PATC H

Parameter Value/Explanation

Sets the assignment of a patch (Patch) or drum kit (Drum) to each of the

TYPE

BANK

Category number

parts.

Patch, Drum

Selects the group to which the desired patch or drum kit belongs.

DS (DS tone), PRST (Preset), GM (GM2 tone), EXP (expansion sounds), USER

Selects the desired patch or drum kit by its number.

0001–

LEVEL/CH

Parameter Value/Explanation

Turns on the part that you want to solo. Parts other than the soloed part

Solo Switch

Mute Switch

Level

Pan

Rx Switch

Rx Channel

are not heard.

OFF, ON

Species whether each part’s performance is temporarily muted (ON) or not muted (OFF).

* The Mute parameter does not turn the part o; it mutes the sound by

minimizing the volume. Therefore, the part still receives MIDI messages.

OFF, ON

Adjust the volume of each part. This setting’s main purpose is to adjust the volume balance between parts.

0–127

Adjust the pan of each part. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

For each part, specify whether MIDI messages will be received (ON), or not (OFF). If this is “OFF,” the part will not respond. Normally, you should leave this “ON,” but you can turn it “OFF” when you do not want a specic part to be playing during song playback.

OFF, ON

Species the MIDI receive channel for each part.

* You can’t edit this parameter if the [PATTERN SEQUENCER] button is lit.

1–16

OUTPUT

Parameter Value/Explanation

Species for each part how the direct sound will be output.

MFX

Output Assign

Output MFX Sel

Output Level

Cho Send Level

Rev Send level

L+R

L, R

PAT Outputs according to the settings for patch.

Of the three types of MFX that can be used simultaneously, specify which MFX will be used.

1–3 (MFX1–MFX3)

Set the level of the signal that is sent to the output destination specied by Part Output Assign.

0–127

Sets the level of the signal sent to chorus for each part.

0–127

Sets the level of the signal sent to reverb for each part.

0–127

Output in stereo through MFX. You can also apply chorus or reverb to the sound that passes through MFX.

Output to the OUTPUT L (MONO) jack and OUTPUT R jack in stereo without passing through MFX.

Output to the OUTPUT L (MONO) jack or OUTPUT R jack in mono without passing through MFX.

PITCH

Parameter Value/Explanation

Adjusts the pitch of the part’s sound up or down in units of an octave (±3

Octave Shift

Coarse Tune

Fine Tune

Mono/Poly

Legato Switch

Bend Range

Porta Switch

Porta Time

octaves).

* Note that when a rhythm set is assigned to a part, you cannot modify

the Octave Shift.

-3–+3

Adjusts the pitch of the part’s sound up or down in semitone steps (±4 octaves).

-48–+48

Adjusts the pitch of the part’s sound up or down in 1-cent steps (±50 cents).

-50–+50

Set this parameter to “MONO” when the patch assigned to the part is to be played monophonically, or to “POLY” when the patch is to be played polyphonically. If you want to use the Mono/Poly setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

MONO, POLY, PAT

Turn this parameter “ON” when you want to use the Legato feature and “OFF” when you don’t. If you want to use the Legato Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

OFF, ON, PAT

Species the amount of pitch change in semitones (2 octaves) that will occur when the Pitch Bend Lever is moved. The amount of change when the lever is tilted is set to the same value for both left and right sides. If you want to use the Pitch Bend Range setting of the patch assigned to the part (p. 7), set this to “PAT.”

0–24, PAT

Turn this parameter “ON” when you want to apply Portamento and “OFF” when you don’t. If you want to use the Portamento Switch setting of the patch assigned to the part (p. 5), set this to “PAT.”

OFF, ON, PAT

When portamento is used, this species the time over which the pitch will change. Higher settings will cause the pitch change to the next note to take more time. If you want to use the Portamento Time setting of the patch assigned to the part (p. 5), set this to “PAT.”

* This setting is ignored for parts to which a drum kit is assigned.

0–127, PAT

21

Performance Mode

KBD

Parameter Value/Explanation

Species, for each part, whether or not the keyboard controller section will be connected to the internal sound generator and MIDI OUT.

Kbd Switch

Key Range Lower, Upper

Velo Sens Oset

(Velocity

Sensitivity Oset)

Voice Reserve

Octave Shift

Normally you will leave this o; you can turn it on if you want to layer sounds.

OFF, ON

Species the lowest/highest note that the tone will sound for each part.

* When the Key Range (p. 7) is set for each individual tone in a patch,

sounds are produced in the range where the Key Range of each tone and the Key Range for the part overlap.

1–16

Key range specied for Performance

The range in which notes will play

This changes the volume and cuto frequency for each part according to the velocity with which the keys are pressed. If you want strongly played notes to raise the volume/cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the volume/cuto frequency, use negative (-) settings. Set Velocity Sensitivity to “0” when you want sounds played at a xed volume and cuto frequency, regardless of the force with which the keys are played.

* Patches also contain a Velocity Sensitivity Oset setting (p. 5). The

ultimate Velocity Sensitivity Oset value is the sum of the part’s and the patch’s Velocity Sensitivity Osets. Accordingly, if the patch’s Velocity Sensitivity Oset is set to “127” (maximum), there will be no change in the part’s Velocity Sensitivity Oset, even when this is set to a positive value.

-63–+63

Species the number of voices that will be reserved for each part when more than 128 voices are played simultaneously.

* It is not possible for the settings of all parts to total an amount greater

than 128.

0–63, FULL

Adjusts the pitch of the part’s sound up or down in units of an octave (±3 octaves).

* Note that when a rhythm set is assigned to a part, you cannot modify

the Octave Shift.

-3–+3

Key range specied for Patch

Calculating the number of voices being used

The JUNO-DS is able to play up to 128 notes simultaneously. The polyphony, or the number of voices (sounds) does not refer only to the number of sounds actually being played, but changes according to the number of tones used in the patches, and the number of Waves used in the tones. The following method is used to calculate the number of sounds used for one patch being played. (number of sounds being Played) x (number of tones used by patches being played) x (number of waves used in the tones) Realtime Stretch requires twice the normal polyphony.

OFFSET

Parameter Value/Explanation

Adjusts the cuto frequency for the patch or rhythm set assigned to a part.

* Patches also have a Cuto Oset setting (p. 4). The nal Cuto

frequency value is the sum of the tone Cuto Frequency value and the

Cuto Oset

Reso Oset

(Resonance Oset)

Attack Oset

(Attack Time Oset)

Decay Oset

Release Oset

(Release Time Oset)

patch and part Cuto Oset values. If the tone’s cuto frequency is already set to “127” (maximum), there will be no change produced by setting the Cuto Oset to a positive value.

-64–+63

Adjusts the Resonance for the patch or rhythm set assigned to a part.

* Patches also have a Resonance Oset setting (p. 4). The nal

Resonance value is the sum of the tone Resonance value and the patch and part Resonance Oset values. If the tone’s resonance is already set to “127” (maximum), there will be no change produced by setting the resonance oset to a positive value.

-64–+63

Adjusts the TVA/TVF Envelope Attack Time for the patch or drum kit assigned to a part.

* Patches also contain the Attack Time Oset setting (p. 4). The nal

TVA Envelope attack time value is therefore the sum of the tone’s TVA Envelope Time 1 setting, the patch’s Attack Time Oset, and the part’s Attack Time Oset. If the tone’s Time 1 is already set to “127” (maximum), there will be no change produced by setting the Attack Time Oset to a positive value. The same applies to the TVF envelope.

-64–+63

Adjusts the TVA/TVF Envelope Decay Time for the patch or drum kit assigned to a part.

-64–+63

Adjusts the TVA/TVF Envelope Release Time for the patch or drum kit assigned to a part.

* Patches also contain a Release Time Oset setting (p. 4). The nal

TVA Envelope release time value is therefore the sum of the tone’s TVA Envelope Time 4 setting, the patch’s Release Time Oset, and the part’s Release Time Oset. If the tone’s Time 4 is set to “127” (maximum), there will be no change in the Release Time Oset, even when this is set to a positive value. The same applies to the TVF envelope.

-64–+63

VIBRATO

Parameter Value/Explanation

For each part, adjust the vibrato speed (the rate at which the pitch is

Vibrato Rate

Vibrato Depth

Vibrato Delay

modulated). The pitch will be modulated more rapidly for higher settings, and more slowly with lower settings.

-64–+63

For each part, this adjusts the depth of the vibrato eect (the depth at which the pitch is modulated). The pitch will be modulated more greatly for higher settings, and less with lower settings.

-64–+63

For each part, this adjusts the time delay until the vibrato (pitch modulation) eect begins. Higher settings will produce a longer delay time before vibrato begins, while lower settings produce a shorter time.

-64–+63

SCALE

Parameter Value/Explanation

C–B

Make scale tune settings for each part.

-64–+63

Equal Temperament

This tuning divides the octave into 12 equal parts, and is the most widely used method of temperament used in Western music.

Just Temperament (Tonic of C)

Compared with equal temperament, the principle triads sound pure in this tuning. However, this eect is achieved only in one key, and the triads will become ambiguous if you transpose.

Arabian Scale

In this scale, E and B are a quarter note lower and C higher compared to equal temperament. The intervals between G and B, C and E, F

¾

, B² and C¾, and E² and F¾ have a natural third—the interval between a major

and G third and a minor third. On the JUNO-DS, you can use Arabian temperament in the

¾

, F¾ and G¾ are a quarter-note

three keys of G, C and F.

Note

name

C 0 0 -6

¾

C

D 0 +4 -2

²

E

E 0 -14 -51

F 0 -2 -8

¾

F

G 0 +2 -4

¾

G

A 0 -16 0

²

B

B 0 -12 -49

Equal

temperament

Just Temperament

(tonic C)

0 -8 +45

0 +16 -12

0 -10 +43

0 +14 +47

0 +14 -10

Arabian Scale

MIDI

Parameter Value/Explanation

For each MIDI channel, specify whether MIDI messages will be received (ON), or not (OFF). Assigning a check mark (() will enable reception.

PC Program Change

BS Bank Selec t

BEND Pitch Bend

PC–HOLD

VERO CRV

PHASELOCK

PAFT Polyphonic Aftertouch

CAFT Channel Aftertouch

MOD Modulation

VOL Volume

PAN Pan

EXP Expression

HOLD Hold 1

Selects Velocity Curve for each MIDI channel one of the four following Velocity Curve types that best matches the touch of the connected MIDI keyboard. Set this to “OFF” if you are using the MIDI keyboard’s own velocity curve.

OFF, 1–4

Set PHASELOCK to “ON” when you want to suppress discrepancies in timing of parts played on the same MIDI channel.

* When the PHASELOCK is set to “ON,” parts on the same MIDI channel

are put in a condition in which their timing is matched, enabling them to be played at the same time. Accordingly, a certain amount of time may elapse between reception of the Note messages and playing of the sounds. Turn this setting to “ON” only as needed.

OFF, ON

22

Performance Mode

Eects Edit

In Performance mode you can use three multi eects (MFX1–3), one chorus, and one reverb. For each of the three MFX, the chorus, and the reverb, you can specify whether it will operate according to the eect settings of the performance, or according to the eect settings of the patch or drum kit assigned to the part you specify.

The three MFX can be used independently, or you can connect two or three of them in series.

Signal Flow

Make these settings in the “OUTPUT” tab of the PART EDIT screen.

Make these settings in the “MFX1–3” tab of the EFFECTS EDIT screen.

Output Level

1

Cho Send Level

2

Rev Send Send

3

Output Assign

4

Output MFX Sel

5

MFX Type

6

Output Level

7

Chorus Send Level

8

Reverb Send level

9

p. 21

p. 24

Chorus Type

10

Make these settings in the “CHORUS” tab of the EFFECTS EDIT screen.

Make these settings in the “REVERB” tab of the EFFECTS EDIT screen.

11

12

13

14

Chorus Level

Output Select

Reverb Type

Reverb Level

Procedure

Press the [SAMPLE IMPORT] button and [DAW CONTROL] button

1.

simultaneously.

The EDIT MENU screen appears.

Move the cursor to “EFFECTS EDIT,” and press the [ENTER] button.

2.

The EFFECTS EDIT screen appears.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

3.

Move the cursor to the parameter that you want to edit, and use the value

4.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

5.

(Write)” (refer to owner’s manual).

p. 24

23

Performance Mode

Eects Parameters

COMMON

Parameter Value/Explanation

Specify how MFX1–3 will be connected.

TYPE01

MFX1

MFX2

MFX3

TYPE03

MFX1

MFX2

TYPE05

MFX2

MFX3

MFX Structure

MFX1–3 Source

Chorus Source

Reverb Source

TYPE07

MFX1

MFX3 MFX2

TYPE09

MFX2

MFX3

TYPE11

MFX1 MFX2 MFX3

TYPE13

MFX2 MFX3 MFX1

TYPE15

MFX3 MFX1 MFX2

Selects the MFX parameter settings that will be used by the performance.

PERFORM Use the MFX settings of the performance

UPPER (PART1), LOWER (PART2), PART3–16

Selects the chorus parameter settings that will be used by the performance.

PERFORM Use the chorus settings of the performance

UPPER (PART1), LOWER (PART2), PART3–16

Selects the reverb parameter settings that will be used by the performance.

PERFORM Use the reverb settings of the performance

UPPER (PART1), LOWER (PART2), PART3–16

MFX1–3

Parameter Value/Explanation

Turns MFX on/o, and species the type of MFX that is used. If MFX is on,

shows a “(” mark.

MFX Type

Parameters for each MFX type

Chorus Send Level

Reverb Send Level

8

* For details on MFX parameters, refer to “MFX Parameters (MFX,

MFX1–3)” (p. 40).

00: THRU–80: BIT CRUSHER

Edit the parameters of the MFX type you’ve selected.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Species the level of the signal sent to the chorus.

0–127

Species the level of the signal sent to the reverb.

0–127

TYPE02

MFX1

MFX2

MFX3

TYPE04

MFX3

MFX1

Use the MFX settings of the patch or drum kit assigned to the specied part

Use the chorus settings of the patch or drum kit assigned to the specied part

Use the reverb settings of the patch or drum kit assigned to the specied part

MFX1

MFX2 MFX3

TYPE06

MFX2

MFX3 MFX1

TYPE08

MFX1

MFX2

TYPE10

MFX1

MFX3

TYPE12

MFX1 MFX3 MFX2

TYPE14

MFX2 MFX1 MFX3

TYPE16

MFX3 MFX2 MFX1

MFX3

MFX2

MFX1–3 CTRL

Parameter Value/Explanation

Sets the MIDI message used to change the MFX parameter with the MFX control.

OFF MFX control will not be used.

Source 1–4

Destination 1–4

Sens 1–4

CC01–31, 33–95 Controller numbers 1–31, 33–95

PITCH BEND Pitch bend

AFTERTOUCH After touch

SYS CTRL1–4 Use the System Control 1–4 Source setting (p. 34).

Sets the MFX parameters to be controlled with the Source1–4. The MFX parameters available for control will depend on the MFX Type.

* Refer to “MFX Parameters (MFX, MFX1–3)” (p. 40).

Species the depth of MFX control. Specify a positive (+) value if you want to change the value of the assigned destination in a positive direction (larger, toward the right, faster, etc.), or specify a negative value (-) if you want to change the value in a negative direction (smaller, toward the left, slower, etc.). Larger values will allow a greater amount of control.

-63–+63

CHORUS

Parameter Value/Explanation

Turns Chorus on/o, and species the type of chorus that is used. If Chorus is on,

8

Chorus Type

Parameters for each chorus type

Output Select

Chorus Level

00: OFF Neither chorus or delay is used.

01: CHORUS Chorus is used.

02: DELAY Delay is used.

03: GM2 CHORUS GM2 chorus

Set the parameters of the selected chorus type. The chorus parameters available for control will depend on the Chorus Type.

* Refer to “Chorus Parameters” (p. 58).

Species how the sound routed through chorus will be output.

MAIN Output to the OUTPUT jacks in stereo.

REV Output to reverb in mono.

M+R

Adjusts the volume of the sound that has passed through chorus.

0–127

REVERB

Parameter Value/Explanation

Turns Reverb on/o, and species the type of reverb that is used. If Reverb is on,

8

00: OFF Reverb is not used.

01: REVERB Normal reverb

Reverb Type

Parameters for each reverb type

Reverb Level

02: SRV ROOM

03: SRV HALL

04: SRV PLATE

05: GM2 REVERB GM2 reverb

Set the parameters of the selected reverb type. The reverb parameters available for control will depend on the Reverb Type.

* Refer to “Reverb Parameters” (p. 58).

Adjusts the volume of the sound that has passed through reverb.

0–127

shows a “(” mark.

Output to the OUTPUT jacks in stereo, and to reverb in mono.

This reverb simulates typical room acoustic reections.

This reverb simulates typical concert hall acoustic reections.

This reverb simulates a reverb plate, a popular type of articial reverb unit that derives its sound from the vibration of a metallic plate.

24

Sample Edit

Procedure

Press the [SAMPLE IMPORT] button.

1.

The SAMPLE MENU screen appears.

Move the cursor to “SAMPLE EDIT” and press the [ENTER] button.

2.

The SAMPLE EDIT screen appears.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

3.

Sample Parameters

SAMPLE

NOTE

The following parameters cannot be edited for samples Sp:001–006 in the PRST bank.

Parameter Value/Explanation

Species the note number that plays the sample at the pitch at which it

Original Key

Loop Switch

Start

Loop

End

(*1) The length of the imported sample is calculated, and the position of each point is shown as a time (units: milliseconds).

The displayed value (time) is the value when the sample is played at the key specied by Original Key. The playback time is shorter than displayed if you play a key that is higher than the Original Key, and longer than displayed if you play a key that is lower.

was imported.

C-1–G9

Turns loop playback on/o.

OFF, ON

Playback start point (Start Point) (*1) This lets you skip an unwanted portion of the waveform at the beginning of the sample so that the sample plays with the desired timing.

0–

Point at which the repeated portion starts on the second and subsequent plays (Loop Point) (*1) Specify this if you want to loop from a location other than Start After the Sample played back from Start to End, it will then be repeatedly played back in the forward direction, from the Loop to End.

0–

Playback end point (End Point) (*1) This lets you omit an unwanted portion of the waveform at the end of the sample.

0–

Move the cursor to the parameter that you want to edit, and use the value

4.

dial to change the value.

To save the edited settings, perform the operation “Saving Your Settings

5.

(Write)” (refer to owner’s manual).

TVF

Parameter Value/Explanation

Selects the type of lter. A lter cuts or boosts a specic frequency region to change a sound’s brightness, thickness, or other qualities.

* If you set “LPF2” or “LPF3,” the setting for the Resonance will be ignored

(p. 25).

OFF No lter is used.

Low Pass Filter. This reduces the volume of all frequencies above the cuto frequency (Cuto Freq) in order to round o, or un-

LPF

brighten the sound. This is the most common lter used in synthesizers.

Band Pass Filter. This leaves only the frequencies in the region of

BPF

the cuto frequency (Cuto Freq), and cuts the rest. This can be useful when creating distinctive sounds.

High Pass Filter. This cuts the frequencies in the region below

HPF

the cuto frequency (Cuto Freq). This is suitable for creating percussive sounds emphasizing their higher tones.

Peaking Filter. This emphasizes the frequencies in the region of the cuto frequency (Cuto Freq). You can use this to create wah-

PKG

wah eects by employing an LFO to change the cuto frequency cyclically.

Low Pass Filter 2. Although frequency components above the Cuto frequency (Cuto Freq) are cut, the sensitivity of this lter

LPF2

Filter Type

is half that of the LPF. This makes it a comparatively warmer low pass lter. This lter is good for use with simulated instrument sounds such as the acoustic piano.

Low Pass Filter 3. Although frequency components above the Cuto frequency (Cuto Freq) are cut, the sensitivity of this lter changes according to the Cuto frequency. While this lter is

LPF3

also good for use with simulated acoustic instrument sounds, the nuance it exhibits diers from that of the LPF2, even with the same TVF Envelope settings.

Cuto Frequency

Resonance

Selects the frequency at which the lter begins to have an eect on the waveform’s frequency components.

“LPF/LPF2/LPF3” selected for the Filter Type

Lower cuto frequency settings reduce a tone’s upper harmonics for a more rounded, warmer sound. Higher settings make it sound brighter.

“BPF” selected for the Filter Type

Harmonic components will change depending on the TVF Cuto Frequency setting. This can be useful when creating distinctive sounds.

“HPF” selected for the Filter Type

Higher Cuto Frequency settings will reduce lower harmonics to emphasize just the brighter components of the sound.

“PKG” selected for the Filter Type

The harmonics to be emphasized will vary depending on Cuto Frequency setting.

0–127

Emphasizes the portion of the sound in the region of the cuto frequency, adding character to the sound. Excessively high settings can produce oscillation, causing the sound to distort.

0–127

25

Sample Edit

Parameter Value/Explanation

Use this parameter if you want the cuto frequency to change according to the key that is pressed. Relative to the cuto frequency at the C4 key (center C), positive (+) settings will cause the cuto frequency to rise for notes higher than C4, and negative (-) settings will cause the cuto frequency to fall for notes higher than C4. Larger settings will produce greater change.

-200–+200

Cuto frequency

(Octave)

Cuto Keyfollow

Selects one of the following seven curves that determine how keyboard playing dynamics (velocity) inuence the cuto frequency. Set this to “FIXED” if you don’t want the Cuto frequency to be aected by the keyboard velocity.

Cuto V-Curve

Cuto V-Sens

Resonance V-Sens

FIXED, 1–7

Use this parameter when changing the cuto frequency to be applied as a result of changes in playing velocity. If you want strongly played notes to raise the cuto frequency, set this parameter to positive (+) settings. If you want strongly played notes to lower the cuto frequency, use negative (-) settings.

-63–+63

This allows keyboard velocity to modify the amount of Resonance. If you want strongly played notes to have a greater Resonance eect, set this parameter to positive (+) settings. If you want strongly played notes to have less Resonance, use negative (-) settings.

-63–+63

Key

TVF ENV

Parameter Value/Explanation

Species the depth of the TVF envelope. Higher settings will cause the TVF

TVF Env Depth

TVF Env V-Curve

TVF Env V-Sens

TVF Env T1 V-Sens

TVF Env T4 V-Sens

TVF Env Time Keyfollow

envelope to produce greater change. Negative (-) settings will invert the shape of the envelope.

-63–+63

Selects one of the following 7 curves that will determine how keyboard playing dynamics will aect the TVF envelope. Set this to “FIXED” if you don’t want the TVF Envelope to be aected by the keyboard velocity.

FIXED, 1–7

Species how keyboard playing dynamics will aect the depth of the TVF envelope. Positive (+) settings will cause the TVF envelope to have a greater eect for strongly played notes, and negative (-) settings will cause the eect to be less.

-63–+63

This allows keyboard dynamics to aect the Time 1 of the TVF envelope. If you want Time 1 to be speeded up for strongly played notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVF envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVF envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVF envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

TVF Env Time 1–4

TVF Env Level 0–4

Frequency

Key

Specify the TVF envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next cuto frequency level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVF envelope levels (Level 0–Level 4). These settings specify how the cuto frequency will change at each point, relative to the standard cuto frequency (the cuto frequency value specied in the TVF screen).

0–127

Cuto

Time

Note on

T: Time L: Level

Note o

26

Sample Edit

TVA

Parameter Value/Explanation

Tone Level

Level V-Curve

Level V-Sens

Bias Level

Bias Position

Bias Direction

Bias

Bias causes the volume to be aected by the keyboard position. This is useful for changing volume through keyboard position (pitch) when playing acoustic instruments.

Sets the volume of the tone.

0–127

You can select from seven curves that determine how keyboard playing strength will aect the volume. If you do not want the volume of the tone to be aected by the force with which you play the key, set this to “FIXED.”

FIXED, 1–7

Set this when you want the volume of the tone to change depending on the force with which you press the keys. Set this to a positive (+) value to have the changes in tone volume increase the more forcefully the keys are played; to make the tone play more softly as you play harder, set this to a negative (-) value.

-63–+63

Adjusts the angle of the volume change that will occur in the selected Bias Direction. Larger settings will produce greater change. Negative (-) values will invert the change direction.

-100–+100

Species the key relative to which the volume will be modied.

C-1–G9

Selects the direction in which change will occur starting from the Bias Position.

The volume will be modied for the keyboard area below the

LWR

Bias Position.

The volume will be modied for the keyboard area above the

UPR

Bias Position.

The volume will be modied symmetrically toward the left and

L&U

right of the Bias Position.

ALL The volume changes linearly with the Bias Position at the center.

TVA ENV

Parameter Value/Explanation

This allows keyboard dynamics to aect the Time 1 of the TVA envelope. If you want Time 1 to be speeded up for strongly played notes, set this

TVA-Env T1 V-Sens

TVA-Env T4 V-Sens

TVA-Env Time KF

TVA-Env Time 1–4

TVA-Env Level 1–3

parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

The parameter to use when you want key release speed to control the Time 4 value of the TVA envelope. If you want Time 4 to be speeded up for quickly released notes, set this parameter to a positive (+) value. If you want it to be slowed down, set this to a negative (-) value.

-63–+63

Use this setting if you want the TVA envelope times (Time 2–Time 4) to be aected by the keyboard location. Based on the TVA envelope times for the C4 key (center C), positive (+) settings will cause notes higher than C4 to have increasingly shorter times, and negative (-) settings will cause them to have increasingly longer times. Larger settings will produce greater change.

-100–+100

Time

Specify the TVA envelope times (Time 1–Time 4). Higher settings will lengthen the time until the next volume level is reached. (For example, Time 2 is the time over which Level 1 will change to Level 2.)

0–127

Specify the TVA envelope levels (Level 1–Level 3). These settings specify how the volume will change at each point, relative to the standard volume (the Tone Level value specied in the TVA screen).

0–127

Key

Tone Pan

Pan Keyfollow

Random Pan Depth

Alternate Pan Depth

Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is far right.

L64–0–63R

Use this parameter if you want key position to aect panning. Positive (+) settings will cause notes higher than C4 key (center C) to be panned increasingly further toward the right, and negative (-) settings will cause notes higher than C4 key (center C) to be panned toward the left. Larger settings will produce greater change.

-100–+100

Pan

Key

Use this parameter when you want the stereo location to change randomly each time you press a key. Higher settings will produce a greater amount of change.

0–63

This setting causes panning to be alternated between left and right each time a key is pressed. Higher settings will produce a greater amount of change. “L” or “R” settings will reverse the order in which the pan will alternate between left and right.

L63–0–63R

Level

Note on

T: Time L: Level

LFO1

Parameter Value/Explanation

Selects the waveform of the LFO.

* If you set this to “BD-U” or “BD-D,” you must turn the Key Trigger

parameter to “ON.” If this is “OFF,” it will have no eect.

SIN Sine wave

TRI Triangle wave

SAWU Sawtooth wave

SAWD Sawtooth wave (negative polarity)

SQR Square wave

RND Random wave

Waveform

Rate

Rate Detune

BD-U

BD-D

TRP Trapezoidal wave

S&H Sample & Hold wave (one time per cycle, LFO value is changed)

CHS Chaos wave

VSIN

STEP

Adjusts the modulation rate, or speed, of the LFO.

* This setting will be ignored if the Waveform is set to “CHS.”

0–127, note

LFO Rate Detune makes subtle changes in the LFO cycle rate (Rate) each time a key is pressed. Higher settings will cause greater change.

* This parameter is invalid when Rate is set to “note.”

0–127

Time

Note o

Once the attack of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Once the decay of the waveform output by the LFO is allowed to develop in standard fashion, the waveform then continues without further change.

Modied sine wave. The amplitude of a sine wave is randomly varied once each cycle.

A waveform generated by the data specied by LFO Step 1–16. This produces stepped change with a xed pattern similar to a step modulator.

27

Sample Edit

Parameter Value/Explanation

Raises or lowers the LFO waveform relative to the central value (pitch or cuto frequency). Positive (+) settings will move the waveform so that

Oset

Delay Time

Delay Time KF

Fade Mode

Fade Time

Key Trigger

Pitch Depth

TVF Depth

TVA Depth

Pan Depth

modulation will occur from the central value upward. Negative (-) settings will move the waveform so that modulation will occur from the central value downward.

-100, -50, 0, +50, +100

Delay Time (LFO Delay Time) species the time elapsed before the LFO eect is applied (the eect continues) after the key is pressed (or released).

* After referring to “How to Apply the LFO” (p. 28), change the setting

until the desired eect is achieved.

0–127

Adjusts the value for the Delay Time depending on the key position, relative to the C4 key (center C). To decrease the time that elapses before the LFO eect is applied (the eect is continuous) with each higher key that is pressed in the upper registers, select a positive value; to increase the elapsed time, select a negative value. Larger settings will produce greater change. If you do not want the elapsed time before the LFO eect is applied (the eect is continuous) to change according to the key pressed, set this to “0.”

-100–+100

Time

Species how the LFO will be applied.

* After referring to “How to Apply the LFO” (p. 28), change the setting

until the desired eect is achieved.

ON <, ON >, OFF <, OFF >

Species the time over which the LFO amplitude will reach the maximum (minimum).

* After referring to “How to Apply the LFO” (p. 28), change the setting

until the desired eect is achieved.

0–127

Species whether the LFO cycle will be synchronized to begin when the key is pressed (ON) or not (OFF).

OFF, ON

Species how deeply the LFO will aect pitch.

-63–+63

Species how deeply the LFO will aect the cuto frequency.

-63–+63

Species how deeply the LFO will aect the volume.

-63–+63

Species how deeply the LFO will aect the pan.

-63–+63

STEP LFO

Parameter Value/Explanation

When generating an LFO waveform from the data specied in LFO

Step Type

LFO Step 1–16

Step1–16, specify whether the level will change abruptly at each step (TYPE 1) or will be connected linearly ( TYPE 2).

TYPE 1, TYPE 2

Species the data for the Step LFO. If the LFO Pitch Depth is +63, each +1 unit of the step data corresponds to a pitch of +50 cents.

-36–+36

Key

How to Apply the LFO

Apply the LFO gradually after the key is pressed

Parameter Value/Explanation

Fade Mode ON <

Delay Time

Fade Time

Apply the LFO immediately when the key is pressed, and then gradually begin to decrease the eect

Parameter Value/Explanation

Fade Mode ON >

Delay Time The time that the LFO will continue after the keyboard is played.

Fade Time

Apply the LFO gradually after the key is released

Parameter Value/Explanation

Fade Mode OFF <

Delay Time

Fade Time

Apply the LFO from when the key is pressed until it is released, and gradually begin to decrease the eect when the key is released

Parameter Value/Explanation

Fade Mode OFF >

Delay Time The time that the LFO will continue after the keyboard is released.

Fade Time

The time from when the keyboard is played until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

The time from when the keyboard is released until the LFO begins to be applied.

The time over which the LFO amplitude will reach the maximum after the Delay Time has elapsed.

The time over which the LFO amplitude will reach the minimum after the Delay Time has elapsed.

28

OUTPUT

Parameter Value/Explanation

Tone Chorus Send

Tone Reverb Send

Species the level of the signal sent to the chorus.

0–127

Species the level of the signal sent to the reverb.

0–127

Editing Arpeggios

Press the [ARPEGGIO] button to make it light.

1.

The ARPEGGIO screen appears.

Move the cursor to the item that you want to edit, and use the value dial to edit the setting.

2.

Press the [EXIT] button to exit the ARPEGGIO screen.

3.

Parameter Value/Explanation

STYLE

Part

Arp Hold

Grid

Duration

Motif Refer to “Selecting Ascending/Descending Variations (Motif)” (p. 29).

Velocity

Oct Range

Accent

Selects the arpeggio’s basic performance style.

001–128

In performance mode, this selects the part (only one part) that will be played by the arpeggio. If a drum kit is assigned to a part, you can play a drum kit along with the arpeggios.

* This parameter is not shown if the patch mode is selected or the [SUPER

LAYER] button is on.

Part1 (Upper), Part2 (Lower), Part3–16

You can produce arpeggios even without continuing to press the keyboard.

OFF, ON

Sets the particular note division and resolution in a “single grid” used in creating the arpeggio in an Arpeggio Style, and how much of a “shue” syncopation is to be to applied (none/weak/strong) to it (grid type).

* Grid settings are shared with the rhythm pattern.

1/4 (¸) Quar ter note (one grid section = one beat)

1/8 (˙) Eighth note (two grid sections = one beat)

1/8 (˙) L

1/8 (˙) H

1/12 (¯) Eighth note triplet (three grid sections = one beat)

1/16 (˜) Sixteenth note (four grid sections = one beat)

1/16 (˜) L

1/16 (˜) H

1/24 (´) Sixteenth note triplet (six grid sections = one beat)

This determines whether the sounds are played staccato (short and clipped), or tenuto (fully drawn out).

30–120%

Full

Species the loudness of the notes that you play.

REAL

1–127

Adds an eect that shifts arpeggios one cycle at a time in octave units (octave range). You can set the shift range upwards or downwards (up to three octaves up or down).

-3–+3

Adjust the amount (“spread”) of this dynamic variation. With a setting of “100,” the arpeggiated notes will have the velocities that are programmed by the arpeggio style. With a setting of “0,” all arpeggiated notes will be sounded at a xed velocity.

0–100

Eighth note shue Light (two grid sections = one beat, with a light shue)

Eighth note shue Heavy (two grid sections = one beat, with a heavy shue)

Sixteenth note shue Light (four grid sections = one beat, with a light shue)

Sixteenth note shue Heavy (four grid sections = one beat, with a heavy shue)

* Duration settings are shared with the rhythm pattern.

For example, when set to “30%,” the length of the note in a grid (or when a series of grids is connected with ties, the nal grid) is 30% of the full length of the note set in the grid type.

Even if the linked grid is not connected with a tie, the same note continues to sound until the point at which the next new sound is specied.

The velocity will change according to how strongly you strike the key.

The notes will be sounded with the velocity you specify here, regardless of how strongly you strike the key.

Selecting Ascending/Descending Variations (Motif)

Selects the method used to play sounds (motif) when you have a greater number of notes than programmed for the Arpeggio Style.

* When the number of keys played is less than the number of notes in the Style,

the highest-pitched of the pressed keys is played by default.

Value Explanation

Up (L)

Up (L&H)

Up (_)

Down (L)

Down (L&H)

Down (_)

U/D (L)

U/D (L&H)

U/D (_)

Rand (L)

Rand (_)

Phrase

Only the lowest of the keys pressed is sounded each time, and the notes play in order from the lowest of the pressed keys.

Notes from both the lowest and highest pressed keys are sounded each time, and the notes play in order from the lowest of the pressed keys.

The notes play in order from the lowest of the pressed keys. No note is played every time.

Only the lowest of the keys pressed is sounded each time, and the notes play in order from the highest of the pressed keys.

Notes from both the lowest and highest pressed keys are sounded each time, and the notes play in order from the highest of the pressed keys.

The notes play in order from the highest of the pressed keys. No note is played every time.

Notes will be sounded from the lowest to the highest key you press and then back down to the lowest key, with only the lowest key sounded each time.

Notes from both the lowest and highest pressed keys are sounded each time, and the notes play in order from the lowest of the pressed keys and then back again in the reverse order.

The notes play in order from the lowest of the pressed keys, and then back again in the reverse order. No note is played every time.

Notes will be sounded randomly for the keys you press, with only the lowest key sounded each time.

Only the lowest of the keys pressed is sounded each time, the notes you press will be sounded randomly. No note is played every time.

Pressing just one key will play a phrase based on the pitch of that key. If you press more than one key, the key you press last will be used.

29

Editing the Vocoder/Auto Pitch

Press the [VOCODER/AUTO PITCH] button to make it light.

1.

The VOCODER/AUTO-PITCH screen appears.

Move the cursor to the parameter that you want to edit, and use the value dial to change the value.

2.

To save the edited settings, perform the operation “Saving the Vocoder/Auto Pitch Settings (Write).”

3.

Parameter Value/Explanation

Mode

Bank, Number

Mode: Vocoder

Carrier Selects the sound that will be the basic waveform of the vocoder sound.

Level

Pan

Mic Sens

Envelope

Synth Level

Mic Mix Level

Mic HPF

Mode: Auto-Pitch

Keyboard Part Selects the sound that is played on the keyboard when using Auto-Pitch.

Type

Level

Pan

Scale

Key

Selects the vocoder or auto-pitch.

Vocoder, Auto-Pitch

Selects the vocoder or auto-pitch setting.

PRST 001–010 Vocoder settings

PRST 011–020 Auto-pitch settings

USER 501–520 User settings

Adjusts the output level of the sound that passes through the vocoder.

0–127

Adjusts the stereo position of the sound that passes through the vocoder.

L64–63R

Species the input sensitivity of the mic.

0–127

Selects the character of the sound.

SHARP Emphasizes the human voice.

SOFT Emphasizes the sound of the instrument.

LONG Produces a vintage sound with a long decay.

Species the input level of the instrumental sound.

0–127

Species the amount of the mic audio passing through the Mic HPF (Mic High Pass Filter) that is added to the output of the vocoder.

0–127

Species the frequency at which the high pass lter (HPF) applied to the mic audio starts to take eect. If this is set to “BYPASS,” no lter is applied.

BYPASS, 1000–16000Hz

Selects how Auto-Pitch correction is performed.

SOFT Corrects the pitch smoothly.

HARD Corrects the pitch quickly.

ELECTRIC1 Corrects the pitch in a stepwise manner.

ELECTRIC2

ROBOT Corrects the pitch to the specied note.

Adjusts the output level of the sound that passes through the auto-pitch.

0–127

Adjusts the stereo position of the sound that passes through auto-pitch.

L64–63R

Selects the scale to which Auto-Pitch corrects the pitch.

CHROMATIC Corrects the pitch in semitone steps.

Maj (Min)

If the Scale parameter is set to “Maj (Min),” specify the key of the song you’re singing. For example if the song is in C major, specify “C”; if the song is in A minor, specify “Am.”

C–Bm

Relationship between the key of the song and the key signature (and) of the score

Major keys

Minor keys

Major keys

Corrects the pitch more strongly than ELECTRIC1. This reproduces the mechanical, step-wise pitch correction used in pop music.

Corrects the pitch to the notes of the scale (Key) you specify.

Saving the Vocoder/Auto Pitch Settings (Write)

Press the [WRITE] button to make it light.

1.

The VOCODER/AUTO-PITCH NAME screen appears.

Assign a name to the data that you’re saving.

2.

Operation Explanation

[K] [J] buttons Move the cursor.

Value dial, [–] [+] buttons Select the character.

[I] [H] buttons Switch between uppercase and lowercase.

Inserting/ Deleting Characters

While entering a name, press the [MENU] button.

1.

The NAME MENU window appears. The window closes if you press the button once again.

Move the cursor to “INSERT” or “DELETE,” and press the [ENTER] button.

2.

Function Explanation

INSERT Press the [ENTER] button to insert a space (blank) at the cursor location.

DELETE

When you’ve specied the name, press the [ENTER] button.

3.

Use the value dial to specify the save-destination.

4.

Press the [ENTER] button.

5.

A conrmation message appears. If you decide to cancel, press the [EXIT] button.

Move the cursor to “OK,” and press the [ENTER] button.

6.

Saving is complete when the screen indicates “Completed!”

NOTE

Never turn o the power while the screen indicates “Writing....”

Press the [ENTER] button to delete the character at the cursor location; subsequent characters will be moved forward to ll the gap.

30

Octave

Gender

Balance

Note

Minor keys

Makes the pitch one octave higher/lower.

-1, 0, +1

Settings in the “-” direction give the voice an increasingly masculine character; settings in the “+” direction give the voice an increasingly feminine character.

-10–+10

Species the volume balance between the direct sound (D) and the eect sound (W).

D100:0W–D0:100W

Fixes the pitch.

* Available if Type is set to “Robot.”

C–B

Creating an Original Scale (USER SCALE)

You can adjust the pitch of each note from C through B in units of one cent. The pitch you specify for each note is applied to that note for all octaves. You can create and save nine dierent “user scales” for later recall.

Setting a User Scale

Press [MENU] button.

1.

The MENU screen appears.

Move the cursor to “USER SCALE,” and press the [ENTER] button.

2.

The USER SCALE screen appears.

Select each of the 12 notes from C to B, and use the value dial to edit their

3.

pitch.

* You can also use the keyboard to select a note to edit.

Value -64–+63

Quarter Tone settings

In the USER SCALE screen, hold down the OCTAVE [DOWN] button and

1.

play a note on the keyboard.

The pitch of the note you played is attened by 1/4 semitone (-50 cents). Once again hold down the OCTAVE [DOWN] button and play the same note to restore it to its original pitch.

In the SCALE EDIT screen, hold down the OCTAVE [UP] button and play a note

2.

on the keyboard.

The pitch of the note you played is sharpened by 1/4 semitone (+50 cents). Once again hold down the OCTAVE [UP] button and play the same note to restore it to its original pitch.

Recalling a User Scale

Press [MENU] button.

1.

The MENU screen appears.

Move the cursor to “USER SCALE,” and press the [ENTER] button.

2.

The USER SCALE screen appears. The currently selected user scale number is shown. When the instrument starts up, this always indicates “OFF.”

Press the [1]–[9] button to select a user scale.

3.

To return to the normal state (OFF), press the [0] button.

MEMO

5If a user scale is selected, the user scale does not change even if you switch

patches or performances. 5User scale returns to OFF when you turn o the power. 5If no user scale is registered to the button that you press, equal temperament is

selected. 5If you use the shortcut ([KEY TOUCH]+[TRANSPOSE]) to access the USER SCALE

screen, you can press a [0]–[9] button to select a user scale and immediately

exit the USER SCALE screen. This is convenient when you want to recall a user

scale while performing.

When you’ve nished making settings, press the [WRITE] button.

4.

The USER SCALE WRITE screen appears.

* If you press the [EXIT] button to exit the USER SCALE screen without performing

the Write operation, the unsaved settings revert to their previous state.

Select the write destination number (USER 1–9), and press the [ENTER]

5.

button.

A conrmation message appears. If you decide to cancel, press the [EXIT] button.

Move the cursor to “OK,” and press the [ENTER] button.

6.

Writing is complete when the screen indicates “User Scale Write Completed.”

31

System Settings

Procedure

Press the [MENU] button.

1.

The MENU screen appears.

Move the cursor to “SYSTEM,” and press the [ENTER] button.

2.

Move the cursor to tab, and use the [K] [J] buttons to switch the pages.

3.

Move the cursor to the parameter that you want to edit, and use the value

4.

dial to change the value.

Press the [EXIT] button to exit the screen.

5.

System Parameters

MEMO

The parameters you edit are saved when you press the [WRITE] button in the SYSTEM screen, or when you exit the SYSTEM screen.

GENERAL

Parameter Value/Explanation

LCD Contrast

LCD Brightness

Auto O

Power Save Time

Illumination

Adjusting the display contrast.

1–20

Adjusting the display brightness.

1–20

Species whether the unit will turn o automatically after a certain time has elapsed. If you don’t want the unit to turn o automatically, choose “OFF” setting.

OFF, 30, 240[min]

Amount of idle time that is to pass before the JUNO-DS enters power-save mode. When the JUNO-DS enters power-save mode, it will reduce its power consumption by turning o the display backlight and minimizing button illumination.

OFF, 1, 3, 5, 10, 15, 20, 30, 60[min]

Species whether the buttons illuminate when they are waiting for an operation.

OFF, ON

PAD COLOR

Parameter Value/Explanation

Pad Brightness

COLOR The illumination color of pads [1]–[8] can be specied for each function.

Back Ground

Level Meter

Part Select

Track Select

Track Data

Track Mute

Rhythm Pattern

Audio Player

Tone Switch

Tone Select

Adjusts the brightness of pads [1]–[8].

1–127

OFF, 1–13

1–13

Species the basic illumination color of the pads.

Species the illumination color of the level meter that indicates the volume when you play the keyboard.

Species the pad illumination color that indicates the selected part when you use the pads to select a part.

Species the pad illumination color that indicates the selected track when you use the pads to select a track.

Species the pad illumination color that indicates a track already containing performance data.

Species the pad illumination color that indicates a muted track.

Species the pad illumination color when the RHYTHM PATTERN screen is displayed.

Species the pad illumination color when the AUDIO PLAYER screen is displayed.

Species the pad illumination color for pads [5]– [8] that indicate tones turned on in the PATCH EDIT screen.

Species the pad illumination color for the pad that indicates the selected tone in the PATCH EDIT screen.

SOUND

Parameter Value/Explanation

Adjusts the overall tuning of the JUNO-DS.

Master Tune

Master Key Shift

Master Level

Output Gain

Audio Level

The display shows the frequency of the A4 note (center A).

415.3–466.2[Hz]

Shifts the JUNO-DS’s overall pitch range in semitone steps.

-24–+24

Sets the JUNO-DS’s overall volume.

0–127

Adjusts the output gain from the JUNO-DS’s output.

-12–+12[dB]

Species the volume when playing audio le from the Audio Player.

0–127

MASTER EQ

Parameter Value/Explanation

Turn the master EQ (this is an equalizer that is applied to the overall sound

Master EQ Switch

EQ Low Freq

EQ Low Gain

EQ Mid Freq

EQ Mid Gain

EQ Mid Q

EQ High Freq

EQ High Gain

EQ Total Gain

of the entire JUNO-DS) on/o.

OFF, ON

Frequency of the low range.

200, 400[Hz]

Gain of the low frequency range.

-15–+15[dB]

Frequency of the middle range.

200–8000[Hz]

Gain of the middle frequency range.

-15–+15[dB]

Width of the middle frequency range. Set a higher value for Q to narrow the range to be aected.

0.5, 1.0, 2.0, 4.0, 8.0

Frequency of the high range.

2000, 4000, 8000[Hz]

Gain of the high frequency range.

-15–+15[dB]

Gain of the overall Master EQ.

-15–+15[dB]

KEY TOUCH

Parameter Value/Explanation

Velo Curve

Curve Oset

Velocity

Sets the keyboard’s touch.

LIGHT, MEDIUM, HEAVY

Adjusts the Velo Curve. Lower values make the keyboard feel lighter. Higher values make the keyboard feel heavier.

-10–+9

Species the velocity transmitted when a key is played.

REAL

1–127

32

The transmitted velocity value will correspond to the force with which you strike the key.

The transmitted velocity value will be xed, regardless of the force with which you strike the key.

System Settings

MIC IN SETTINGS

Parameter Value/Explanation

Mic In Level

Mic In Reverb Switch

Mic In Reverb Level

Mic In Reverb Type

Mic In Reverb Time

Noise Suppressor Switch

Noise Suppressor Threshold

Noise Suppressor Release

Mic Mode

Adjusts the input level of the MIC INPUT jack.

0–127

Species whether reverb is applied (ON) to the mic input or not applied (OFF).

OFF, ON

Adjust the amount of reverb that is applied to the sound of the microphone.

0–127

Select the type of reverb/delay that is applied to the sound of the microphone.

ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2, DELAY, PAN-DELAY

Adjusts the length of the reverberation (when Reverb Type is ROOM1– HALL2) or the delay time of the delay (when Reverb Type is DELAY or PANDELAY).

0–127

Switches the noise suppressor on/o. The noise suppressor is a function that suppresses noise during periods of silence.

OFF, ON

Adjusts the volume at which noise suppression starts to be applied.

0–127

Adjusts the time from when noise suppression starts until the volume reaches 0.

0–127

Species the mic input mode.

ALL Sound is input from the mic at all times.

VOCAL FX

PEDAL

Parameter Value/Explanation

Control Pedal

Control Pedal Assign

Control Pedal Polarity

Hold Pedal

Continuous Hold Pedal

Hold Pedal Polarity

Species the function of the pedal that is connected to the PEDAL CONTROL jack. The number in parentheses ( of the control change message produced by the pedal when the corresponding function is assigned.

MODULATION (CC01) Vibrato

PORTA-TIME (CC05) Portamento time

VOLUME (CC07) Level

PAN (CC10) Pan

EXPRESSION (CC11) Level

HOLD

PORTAMENTO (CC65) Portamento switch

SOSTENUTO

RESONANCE (CC71) Resonance

RELEAS-TIME (CC72) Release time

ATTACK-TIME (CC73) Attack time

CUTOFF (CC74) Cuto

DECAY-TIME (CC75) Decay time

VIB-RATE (CC76) Vibrato speed

VIB-DEPTH (CC77) Vibrato depth

VIB-DELAY (CC78) Vibrato delay time

CHORUS-SEND (CC93) The amount of the chorus

REVERB-SEND (CC91) The amount of the reverb

AFTERTOUCH Channel aftertouch

* In Patch mode, the eect of the above functions applies to the currently

selected sound. In Performance mode, the eect applies to the current part or to parts whose keyboard switch (p. 19, p. 20, p. 22) is on.

START/STOP

TAP-TEMPO

PROG-UP

PROG-DOWN

FAV-UP The favorite of the next number or bank will be selected.

FAV-DOWN

Selects the polarity of the pedal connected to the PEDAL CONTROL jack.

STANDARD, REVERSE

If this is ON, the PEDAL HOLD jack will support half-pedaling.

OFF, ON

Selects the polarity of the pedal connected to the PEDAL HOLD jack.

STANDARD, REVERSE

Sound is input from the mic only when the [VOCODER/ AUTO PITCH] button is lit, or when the eect type is set to “79: Di VOCODER” (p. 57).

) is the controller number

(CC64) The sound will be sustained for keys that are played or were already held down while holding down the pedal.

(CC66) The sound will be sustained only for keys that were already pressed when you pressed the pedal.

Pressing the pedal will start/stop the rhythm pattern, audio player, or pattern sequencer.

The tempo will be set to the interval at which you press the pedal (Tap Tempo).

If you’re in the patch mode, this selects the next sound. If you’re in the performance mode, this selects the nextnumbered performance.

If you’re in the patch mode, this selects the previous sound. If you’re in the performance mode, this selects the previous-numbered performance.

The favorite of the previous number or bank will be selected.

KNOB

Parameter Value/Explanation

Species the function that is assigned to each knob when the parameter controlled by the control knobs is set to ASSIGN 1–4.

OFF No function is assigned.

CC01–31, 32 (OFF), 33–95

Pitch Bend The same eect as moving the pitch bend.

Aftertouch After touch

* In Patch mode, the eect of the above functions applies to the currently

Knob 1–4 Assign

selected sound. In Performance mode, the eect applies to the selected part.

EQ Low Freq Frequency of the low range.

EQ Low Gain Gain of the low frequency range.

EQ Mid Freq Frequency of the middle range.

EQ Mid Gain Gain of the middle frequency range.

EQ Mid Q Width of the middle frequency range.

EQ High Freq Frequency of the high range.

EQ High Gain Gain of the high frequency range.

SYNC/TEMPO

Parameter Value/Explanation

Species the synchronization message that the JUNO-DS will use for operation.

Sync Mode

Clock Source

Startup Tempo

Tempo Lock

MASTER

SLAVE

When the Sync Mode is “SLAVE,” this setting species whether the JUNO-DS will synchronize to synchronization messages from the MIDI IN connector or from the USB COMPUTER port.

MIDI, USB

Species the tempo when the JUNO-DS starts.

20–250

When you switch performances or patterns, this species whether the tempo of the newly selected performance/pattern is used, or the current tempo is maintained.

OFF, ON (maintain)

METRONOME

Parameter Value/Explanation

Species how the metronome will be sounded.

OFF No metronome is sounded.

PLAY-ONLY

Metronome Mode

Metronome Level

Metronome Sound

Metronome Accent Switch

REC-ONLY

PLAY&REC

ALW AYS The metronome sounds at all times.

Adjusts the metronome volume.

0–10

Selects the metronome sound.

TYPE1 Conventional metronome sound (rst beat is a bell)

TYPE2 Click sound

TYPE3 Beep sound

TYPE4 Cowbell sound

Adds an accent to the metronome sound.

OFF, ON

Controller number 1–31, 32, 33–95

The JUNO-DS will be the master. Choose this setting when using the JUNO-DS by itself without synchronizing to another device.

The JUNO-DS will be the slave. Choose this setting when you want the JUNO-DS to synchronize to MIDI Clock messages received from another MIDI device.

The metronome sounds when a pattern is playing.

The metronome sounds when a pattern is being recorded.

The metronome sounds when a pattern is playing or being recorded.

33

System Settings

MIDI

Parameter Value/Explanation

Determines whether the internal sound generator is disconnected (OFF) from the controller section (keyboard, pitch bend/modulation lever,

Local Switch

Patch Rx/Tx Ch

Performance Control Channel

Transmit

Program Change,

Bank Select, Active Sensing

Transmit Edit Data

Receive

Program Change,

Bank Select

Soft Through

USB Driver

*1: Download the Driver

In order to use the JUNO-DS with the “VENDOR” setting, you must download the driver from the following URL and install it on your computer. For details on installation, refer to the following URL.

&

http://www.roland.com/support/

buttons, sliders, pedal, and so on); or not disconnected (ON). Normally you’ll leave this “ON.” Choose the “OFF” setting if you want operations on the JUNO-DS to only control DAW software on your computer.

OFF, ON

In patch mode, species the MIDI message transmit/receive channel for the keyboard part.

1–16

Species the MIDI receive channel on which MIDI messages (program change/bank select) from an external MIDI device will be received by the JUNO-DS to switch performances. Choose “OFF” setting if you don’t want performances to be switched from a connected MIDI device.

1–16, OFF

Species whether program change messages/bank select messages/active sensing messages will be transmitted (ON) or not be transmitted (OFF).

OFF, ON

Species whether changes you make in the settings of a patch or performance will be transmitted as system exclusive messages (ON), or will not be transmitted (OFF).

OFF, ON

Species whether program change messages/bank select messages will be received (ON) or not be received (OFF).

OFF, ON

If this is “ON,” incoming MIDI messages from the MIDI IN connector will be re-transmitted without change from the MIDI OUT connector.

OFF, ON

Sets the USB driver.

* This setting will take eect when you turn the power o, then on again.

GENERIC

VENDOR

Choose this if you want to use the generic USB driver provided by your computer’s operating system.

Choose this if you want to use a USB driver downloaded from the Roland website. (*1)

CONTROL

Parameter Value/Explanation

Specify the MIDI messages that will be used as system controls. System Control settings allow you to specify MIDI messages that will apply in common to the entire JUNO-DS, and can be used for controlling volume, tone, etc. You can assign up to four MIDI messages for this type of control.

Sys Ctrl 1–4 Source

* If you want to make assignments for realtime control of the sound and

eects for each tone independently, use “Matrix control” (p. 12) or “MFX control” (p. 18).

OFF No function is assigned.

CC01–31, 32 (OFF), 33–95

PITCH BEND The same eect as moving the pitch bend.

AFTERTOUCH Aftertouch

Controller number 1–31, 32, 33–95

INFORMATION

Parameter Value/Explanation

Version View the software version.

Expansion Displays information about expansion sounds.

34

Connecting to a Computer via USB

If you use a commercially available USB cable to connect a USB port of your computer to the USB COMPUTER port located on the rear panel of the JUNO-DS, you can use MIDI-compatible software (DAW software) to play back audio and MIDI data on the JUNO-DS.

USB COMPUTER port

For details on operating requirements, refer to the Roland website.

http://www.roland.com/support/

NOTE

5For some types of computer, this might not work correctly. Refer to the Roland

website for details on the operating systems that are supported.

5A USB cable is not included. You can purchase one from the dealer where you

purchased the JUNO-DS. 5Use a USB 2.0 cable. 5Your computer’s USB port must support USB 2.0 Hi-Speed. 5Turn on the power of the JUNO-DS before you start the DAW software on your

computer. Don’t turn the JUNO-DS’s power on/o while your DAW software is

running.

USB audio

Making USB Driver Settings

Here’s how to switch between the JUNO-DS’s dedicated USB driver and the generic driver provided by your operating system.

Press the [MENU] button.

1.

The MENU screen appears.

Move the cursor to “SYSTEM,” and press the [ENTER] button.

2.

The SYSTEM screen appears.

Move the cursor to “MIDI” tab – “USB Driver,” and use the value dial to select

3.

the driver.

Driver

VENDOR

GENERIC

When you switch the driver, a conrmation screen appears. If you decide to cancel, press the [EXIT] button.

Move the cursor to “WRITE,” and press the [ENTER] button.

4.

Setting is complete when the screen indicates “Completed.”

MEMO

This system takes eect when the JUNO-DS is powered-on.

Turn the power o, and then on again.

5.

Explanation

The dedicated driver provided by Roland specically for the JUNO-DS is used. Both MIDI and audio are available.

The generic driver of the operating system is used. Only MIDI is available.

JUNO-DS 0 Computer

If the JUNO-DS is connected to your computer via a USB cable, the audio output you’ve chosen in the JUNO-DS can be recorded into your computer’s DAW software.

Computer 0 JUNO-DS

If the JUNO-DS is connected to your computer via a USB cable, the sound of your computer can be reproduced from an audio system connected to the JUNO-DS’s jacks.

USB MIDI

If the JUNO-DS is connected to your computer via a USB cable, the JUNO-DS’s performance data (MIDI data) can be recorded into your DAW software, and performance data (MIDI data) played back by your DAW software can be sounded by the JUNO-DS’s sound engine.

Installing the USB Driver

The USB driver is software that exchanges data between the JUNO-DS and your computer software. In order to use the JUNO-DS’s dedicated USB driver, you must install the USB driver.

MEMO

For details on downloading and installing the USB driver, refer to the Roland website.

http://www.roland.com/support/

35

Using the JUNO-DS with DAW Software

Using the JUNO-DS As a DAW Controller

You can use the JUNO-DS as a controller for your DAW software. The JUNO-DS provides various DAW control maps. Simply select the appropriate control map to apply the appropriate settings for the DAW software that you’re using.

MEMO

If you want to use the JUNO-DS as a controller for your DAW software, set the USB Driver setting to “VENDOR.”

Using the JUNO-DS to Control DAW Software

Use a USB cable to connect the JUNO-DS to your computer.

1.

A conrmation message appears.

* This message is not shown if you power-on the JUNO-DS with it already

connected to the computer.

Move the cursor to “YES,” and press the [ENTER] button.

2.

DAW Control mode is on, and the DAW CONTROL screen appears.

Move the cursor to “Control Map,” and use the value dial to select the DAW

3.

software that you’re using.

Value Explanation

LOGIC PRO

SONAR

CUBASE

USER

As necessary, move the cursor to “Sync Output” or “Sync Mode,” and use the

4.

value dial to change the setting.

Parameter Value/Explanation

Sync Output

Sync Mode

When controlling Logic Pro.

When controlling SONAR.

When controlling Cubase.

Choose “USER” if your system cannot use the Mackie Control control surface. You’ll be able to choose the MIDI messages that are transmitted when you press pads [1]–[8].

Species whether clock, start, continue, stop, and song position pointer messages are transmitted to another device (ON) or are not transmitted (OFF).

* When the DAW CONTROL screen is not shown, this parameter is forcibly

turned OFF.

OFF, ON

Species the synchronization message that the JUNO-DS will use for operation.

MASTER

SLAVE

The JUNO-DS will be the master. Choose this setting when using the JUNO-DS by itself without synchronizing to another device.

The JUNO-DS will be the slave. Choose this setting when you want the JUNO-DS to synchronize to MIDI Clock messages received from another MIDI device.

Settings in SONAR

This explanation describes the procedure when using SONAR X2 Producer. The procedure may dier for other versions.

From the SONAR menu, choose [Edit] 0 [Preferences] 0 [MIDI Devices]

1.

to open the input/ output device selection.

To the input devices and output devices, add “JUNO-DS DAW CTRL.”

2.

In [Preferences], choose [MIDI Control Surfaces].

3.

Press “Add new Controller/Surface” to access the control surface settings

4.

dialog box.

Choose “Mackie Control” as the control surface, choose “JUNO-DS DAW CTRL”

5.

as the input port and output port, and then press “OK.”

Settings in CUBASE

This explanation describes the procedure when using the Mac OS X version of Cubase 7. The procedure may dier for other versions.

From the Cubase [Devices] menu, choose [Device Setup].

1.

Press the [+] button located in the upper left of the dialog box, and choose

2.

“Mackie Control” from the pulldown menu.

As the MIDI input and MIDI output for Mackie Control, specify “JUNO-DS DAW

3.

CTRL.”

In the left side of the dialog box, choose “MIDI Port Setup” to access the

4.

setting screen.

In “JUNO-DS DAW CTRL,” clear the check box from “In ’ALL MIDI Inputs’.”

5.

8.

Operate the JUNO-DS to control your DAW software.

Available controllers Explanation

[s] button Playback/Stop

[t] button Start recording on record-standby tracks.

[u] button Return the current position to the beginning.

[SHIFT]+Pad [2] Rewind

[SHIFT]+Pad [3] Fast forward

The [s] through [u] buttons emulate the Mackie Control control surface.

Pad [1]–[8] Emulate the Mackie Control control surface Function buttons (F1–F8).

Control knobs

[LEVEL] sliders

You can control the functions that are assigned (p. 33) to Assign 1–4 (p. 37).

You can control the functions that are assigned to the four sliders (p. 37).

Turn the Local Switch “OFF” in the “Controller” tab (p. 37).

5.

In your DAW software, open the project le that you want to control.

6.

MEMO

Before you continue, select “JUNO-DS” as the MIDI input device and output device.

For details on how to do this, refer to the owner’s manual of your DAW software.

7.

Make the appropriate control surface settings for the DAW software you selected.

Settings in LOGIC PRO

This explanation describes the procedure when using Logic Pro X. The procedure may dier for other versions.

From the Logic Pro X menu, choose [Logic Pro X] 0 [Control Surfaces]

1.

0

[Setup] to open the setting screen.

From the menu, choose [New] 0 [Install].

2.

From the list of Model, choose “Mackie Control” and press “Add.”

3.

As the input port and the output port, specify “JUNO-DS DAW CTRL.”

4.

36

Using the JUNO-DS with DAW Software

Assigning Functions to Knobs and Sliders

You can assign functions to the control knobs (1–4) and the [LEVEL] sliders (1–4).

Knob 1 Knob 2 Knob 3 Knob 4

Slider 1Slider 2Slider 3Slider

You can store sixteen sets of these assignments, with each set containing the assignments of the control knobs (1–4) and the [LEVEL] sliders (1–4).

1.

In the DAW CONTROL screen, select the “Controller” tab.

2.

Select the set of assignments that you want to edit.

4

MEMO

You can press the [ENTER] button and rename the set.

Move the cursor to the parameter that you want to edit, and use the value

3.

dial to change the value.

Parameter Explanation

Turns the Local switch on/o when in DAW Control mode. If you’re using a DAW software with the JUNO-DS’s keyboard controller section and sound generator section, you should turn the Local Switch “OFF.” Here’s why. We need to connect these sections in the following order: the JUNO-DS’s keyboard a DAW software the JUNO-DS’s sound generator. Since the JUNO-DS’s keyboard section and sound generator section are connected internally, such a connection order would normally be impossible. However, if the Local Switch is “OFF,” the JUNO-DS’s keyboard section and its sound generator section will be independent, allowing you to use a DAW software as shown here in the illustration.

Local Switch

Tx Channel

Knob 1–4

Slider 1–4

Keyboard

Species the MIDI transmit channel used when in DAW Control mode. Set this as desired.

Select the MIDI messages that are transmitted when you turn the control knobs (1–4).

Select the MIDI messages that are transmitted when you control the [LEVEL] sliders (1–4).

Local O

DAW

software

Sound

generator

MEMO

If you want your settings to be remembered, save the DAW CONTROL settings (p. 38).

Using the JUNO-DS As a MIDI Keyboard

Your playing on the JUNO-DS’s keyboard (MIDI data) can be recorded into your DAW software, or used to play software instruments.

Connect the JUNO-DS to your computer.

1.

Press the [DAW CONTROL] button to make it light.

2.

The DAW CONTROL screen appears.

In the DAW CONTROL screen, select the “Controller” tab.

3.

Turn the Local Switch “OFF.”

4.

MEMO

Set the MIDI transmit channel as necessary (Tx Channel: p. 37).

Playing the JUNO-DS’s Sound Generator from DAW Software

Performance data (MIDI data) played back by your DAW software can make the JUNO-DS’s sound generator produce sound.

Connect the JUNO-DS to your computer.

1.

Press the [DAW CONTROL] button to make it light.

2.

Start your DAW software, and open the project le that you want to play.

3.

MEMO

Before you continue, select “JUNO-DS” as the MIDI input device and output device.

For details on how to make this setting, refer to the owner’s manual of your DAW software.

In the DAW CONTROL screen, select the “Part Edit” tab.

4.

1

2

No. Explanation

Performance

1

Patches that are assigned to each part

2

Receive switch for each part

3

If you set to “OFF,” MIDI messages are not received.

Receive channel for each part

4

* Depending on the channel settings of your DAW, messages that switch studio

sets may be transmitted on the channel of a part, causing the tone to switch. If this occurs, check the channel settings of your DAW.

5.

Change the settings as necessary.

MEMO

It is convenient to turn receive switch on/o if you temporarily want to stop receiving MIDI messages.

6.

In your DAW software, set the transmit channels of the tracks that you’re playing back to match the receive channel settings of the JUNO-DS.

For details on how to make this setting, refer to the owner’s manual of your DAW software.

7.

Play back your DAW software.

You hear the playback sounded by the JUNO-DS’s patches.

3 4

37

Using the JUNO-DS with DAW Software

Using the JUNO-DS As an Audio Interface

The JUNO-DS’s audio output you’ve specied can be recorded into DAW software on your computer. Sound from your computer can also be reproduced from a device that’s connected to the JUNO-DS’s OUTPUT jacks.

Connect the JUNO-DS to your computer.

1.

Start up your DAW software, and choose “JUNO-DS” as the audio input

2.

device and output device.

For details on how to make this setting, refer to the owner’s manual of your DAW software.

Saving the DAW CONTROL Settings

The DAW CONTROL settings revert to their previous state when you turn o the power. If you want the DAW CONTROL settings to be remembered even after powero, save them.

In the DAW CONTROL screen (expect in the “Part Edit” tab), press the [WRITE]

1.

button.

* If you press the [WRITE] button when the “Part Edit” tab is selected,

PERFORMANCE WRITE is executed.

A conrmation message appears. If you decide to cancel, press the [EXIT] button.

Move the cursor to “OK,” and press the [ENTER] button.

2.

Saving is complete when the screen indicates “Completed!”

NOTE

Never turn o the power while the screen indicates “Writing....”

MEMO

When you save the DAW CONTROL settings, the system settings are also saved.

38

Error Messages

If an incorrect operation is performed, or if processing could not be performed as you specied, an error message appears. Refer to the explanation for the error message that appears, and take the appropriate action.

Message Meaning Action

Battery Low! The battery has run down. Replace the batteries, or use an AC adaptor.

Cannot Read! Failed to load the audio le from the USB ash drive.

Duplicate File Name! Overwrite it? A le of the same name already exists.

Duplicate File Name! A le of the same name already exists. Check the name.

Format USB Memory Error! An error occurred when formatting the USB ash drive.

Incorrect File! This is a le that the JUNO-DS is unable to play/import. Do not use this le.

Incorrect File Name! A “.” (period) cannot be used at the beginning of a le name. Specify a dierent character.

Int Memory Full!

Memory Damaged! Failed when reading from the waveform memory le system.

Memory Full! There is insucient free capacity to store the sample. Delete unneeded sample.

Memory Full! Optimize?

MIDI Buer Full!

MIDI Oine! The MIDI IN connection was broken.

No more Registered Favorites! No more favorites have been registered.

No Room! The number of stored waveforms has reached the maximum (256). Delete unneeded sample.

Not Found! The le was not found on the USB ash drive. Make sure that the le exists on the USB ash drive.

Now Playing! Since the JUNO-DS is playing, this operation cannot be executed. Stop playback before you execute the operation.

Now Recording! Since the JUNO-DS is recording, this operation cannot be executed. Stop recording before you execute the operation.

Pattern Full!

Permission Denied!

Read Error!

Rec Overow!

Sample Length Too Long! The audio le cannot be imported because it is too long. An audio le that exceeds 64 MB stereo or 32 MB mono cannot be imported.

Sample Length Too Short! The audio le cannot be imported because it is too short. Extremely short audio les cannot be impor ted.

Sys Mem Damaged!

USB Mem NotReady! USB ash drive is not connected. Connect USB ash drive.

Write Error!

There is insucient memory capacity in the internal pattern writing destination.

There is insucient free capacity to store the sample. Do you want to execute Optimize?

An unusually large amount of MIDI data was received, and could not be processed.

The maximum number of notes that can be recorded in one pattern has been exceeded; the pattern cannot be recorded any further.

This indication may appear if a large amount of data, such as movements of the Control knobs, is being recorded. No further pattern recording is possible.

The operation cannot be performed because the USB ash drive, le, or folder is write-protected.

Failed to load data from USB ash drive. Make sure that USB ash drive is correctly connected.

It may be that the le is damaged.

This le cannot be loaded since its format is incorrect.

Since a large amount of recorded data was input all at once, it could not be processed correctly.

It is possible that the contents of system memory have been damaged.

Failed to write data to USB ash drive. Make sure that USB ash drive is correctly connected.

Data cannot be written because the USB ash drive has no more free space.

The le or the USB ash drive itself is write protected. Make sure that the le or the USB ash drive is not write protected.

Make sure that USB ash drive is correctly connected. Use USB Flash Memory sold by Roland.

If you want to overwrite it, proceed with the operation. If you don’t want to delete the identically-named le, save using a dierent le name.

Use USB Flash Memory sold by Roland. We cannot guarantee operation if other products are used.

Delete unneeded pattern.

Please execute a Factory Reset. If this does not resolve the problem, contact your dealer or a nearby Roland service center.

You can obtain free capacity by optimizing the memory area (p. 2).

Reduce the amount of MIDI messages that are being transmitted.

Check that there is no problem with the MIDI cable connected to the JUNO-DS’s MIDI IN, and that the MIDI cable was not disconnected.

Check the currently selected favorite number and the direction (“FAV-UP” or “FAV-DOWN”) that’s assigned to the pedal (p. 33).

Delete unneeded data from the pattern that you’re recording.

Disable the write-protect setting of the USB ash drive. Using your computer, disable the write-protect setting of the le or folder.

Do not use this le.

Reduce the amount of recorded data.

Please execute a Factory Reset. If this does not resolve the problem, contact your dealer or a nearby Roland service center.

Delete unneeded les from the USB ash drive. Alternatively, use a dierent USB ash drive device, one that has more free space available.

39

MFX/Chorus/Reverb Parameters

MFX Parameters (MFX, MFX1–3)

The MFX feature 80 dierent kinds of eects. Some of the eects consist of two or more dierent eects connected in series.

Type MFX Page

00 THRU –

Filter

Modulation

Chorus

Dynamics

Delay

Lo-Fi 1

Pitch

Reverb

01 EQUALIZER

03 ISOLATOR

04 LOW BOOST

05 SUPER FILTER

06 STEP FILTER

07 ENHANCER

08 AUTO WAH

09 HUMANIZER

10 SPEAKER SIMULATOR

11 PHASER

12 STEP PHASER

13 MLT STAGE PHASER

14 INFINITE PHASER

15 RING MODULATOR

16 STEP RING MOD

17 TREMOLO

18 AUTO PAN

19 STEP PAN

20 SLICER

21 R OTAR Y

22 VK R OTARY

23 CHORUS

24 FLANGER

25 STEP FLANGER

26 HEXA-CHORUS

27 TREMOLO CHORUS

28 SPACE-D

29 3D CHORUS

30 3D FLANGER

31 3D STEP FLANGER

32 2BAND CHORUS

33 2BAND FLANGER

34 2BAND STEP FLANGR

35 OVERDRIVE

36 DISTORTION

37 VS OVERDRIVE

38 VS DISTORTION

39 GUITAR AMP SIM

40 COMPRESSOR

41 LIMITER

42 GATE

43 DELAY

44 LONG DELAY

45 SERIAL DELAY

46 MODULATION DELAY

47 3TAP PAN DELAY

48 4TAP PAN DELAY

49 MULTI TAP DELAY

50 RE VERSE DELAY

51 SHUFFLE DELAY

52 3D DELAY

53 ANALOG DELAY

54 ANALOG LONG DELAY

55 TAPE ECHO

56 LOFI NOISE

57 LOFI COMPRESS

58 LOFI RADIO

59 TELEPHONE

60 PHONOGR APH

61 PITCH SHIFTER

62 2VOI PCH SHIFTER

63 STEP PCH SHIFTER

64 RE VERB

65 GATED REVERB

p. 4102 SPEC TRUM

p. 42

p. 43

p. 44

p. 45

p. 46

p. 47

p. 48

p. 49

p. 50

p. 51

p. 52

p. 53

p. 54

p. 55

Type MFX Page

66 OD0CHORUS

67 OD0FLANGER

68 OD0DELAY

69 DST0CHORUS

70 DST0FLANGER

Combination

Piano

Vocoder Lo-Fi 2 80 BIT CRUSHER

71 DST0DELAY

72 ENH0CHORUS

73 ENH0FLANGER

74 ENH0DELAY

75 CHORUS0DELAY

76 FLANGER0DELAY

77 CHORUS0FLANGER

78 SYMPATHETIC RESO

79 Di VOCODER

MEMO

5Parameters marked with a 3 can be controlled using the control knob to

which “MFX CTRL” is assigned.

5Parameters marked with a sharp “#” can be controlled using a MFX control

(p. 18, p. 24) or Matrix control (p. 12). (Two setting items will change simultaneously for “#1” and “#2”).

Note

Some eect parameters (such as Rate or Delay Time) can be set in terms of a note value.

Sixty-fourthnote triplet

Sixteenth-note triplet

Dotted sixteenth note

Quarter note Half-note triplet

Whole-note triplet

Dotted whole note

NOTE

5If you specify the delay time as a note value, slowing down the tempo will not

change the delay time beyond a certain length. This is because there is an upper limit for the delay time; if the delay time is specied as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specied when setting the delay time as a numerical value.

5If you specify a parameter for which a note value is assigned as the MFX control

Destination, you can’t use MFX control to control that parameter.

Sixty-fourth note

Dotted thirtysecond note

Eighth note

Dotted half note Whole note

Double note

Thirty-secondnote triplet

Sixteenth note

Quarter-note triplet

Dotted quarter note

p. 55

p. 56

p. 57

Thirty-second note

Eighth-note triplet

Dotted eighth note

Half note

Double-note triplet

40

MFX/Chorus/Reverb Parameters

L in

R in

R out

L in

R in

R out

L in

R in

R out

When Using 3D Eects

The following 3D eects utilize RSS (Roland Sound Space) technology to create a spaciousness that cannot be produced by delay, reverb, chorus, etc.

552: 3D DELAY 529: 3D CHORUS 530: 3D FLANGER 531: 3D STEP FLANGER

When using these eects, we recommend that you place your speakers as follows. Also, make sure that the speakers are at a sucient distance from the walls on either side.

30˚ 30˚

If the left and right speakers are too far apart, or if there is too much reverberation, the full 3D eect may not appear. Each of these eects has an “Output Mode” parameter. If the sound from the OUTPUT jacks is to be heard through speakers, set this parameter to “SPEAKER.” If the sound is to be heard through headphones, set it to “PHONES.” This will ensure that the optimal 3D eect will be heard. If this parameter is not set correctly, the full 3D eect may not appear.

About the Step Reset function

506: STEP FILTER 516: STEP RING MOD 519: STEP PAN 520: SLICER 563: STEP PCH SHIFTER

The above types contain a sixteen-step sequencer. For these types, you can use a MFX control to reset the sequence to play from the rst step. To do this, set the MFX control Destination to “Step Reset.”

For example if you are using the modulation lever to control the eect, you would make the following settings.

Parameter Value

Source CC01: Modulation

Destination Step Reset

Sens +63

With these settings, the sequence will play back from the rst step whenever you operate the modulation lever.

01: EQUALIZER

This is a four-band stereo equalizer (low, mid x 2, high).

4-Band EQ

L out

4-Band EQ

Parameter Value Explanation

Low Freq 200, 400[Hz] Frequency of the low range

Low Gain # -15–+15[dB] Gain of the low range

Mid1 Freq 200–8000[Hz] Frequency of the middle range 1

Mid1 Gain -15–+15[dB] Gain of the middle range 1

Mid1 Q 0.5, 1.0, 2.0, 4.0, 8.0

Mid2 Freq 200–8000[Hz] Frequency of the middle range 2

Mid2 Gain -15–+15[dB] Gain of the middle range 2

Mid2 Q 0.5, 1.0, 2.0, 4.0, 8.0

High Freq 2000, 4000, 8000[Hz] Frequency of the high range

High Gain # -15–+15[dB] Gain of the high range

3

Level # 0–127 Output level

Width of the middle range 1 Set a higher value for Q to narrow the range to be aected.

Width of the middle range 2 Set a higher value for Q to narrow the range to be aected.

02: SPECTRUM

This is a stereo spectrum. Spectrum is a type of lter which modies the timbre by boosting or cutting the level at specic frequencies.

Spectrum

L out

Spectrum

Parameter Value Explanation

Band1 (250[Hz]) Band2 (500[Hz]) Band3 (1000[Hz]) Band4 (1250[Hz]) Band5 (2000[Hz]) Band6 (3150[Hz]) Band7 (4000[Hz]) Band8 (8000[Hz])

Q 0.5, 1.0, 2.0, 4.0, 8.0

3

Level # 0–127

-15–+15[dB]

Gain of each frequency band

Simultaneously adjusts the width of the adjusted ranges for all the frequency bands.

Output level

03: ISOLATOR

This is an equalizer which cuts the volume greatly, allowing you to add a special eect to the sound by cutting the volume in varying ranges.

Rotary eect

521: ROTARY 522: VK ROTARY

When performing sounds that use these eects, you can change the speed of the rotary eect by moving the modulation lever away from yourself.

Isolator

Parameter Value Explanation

Boost/Cut Low #

Boost/Cut Mid #

3

Boost/Cut High #

Anti Phase Low Sw

Anti Phase Low Level

Anti Phase Mid Sw

Anti Phase Mid Level

Low Boost Sw

Low Boost Level

Level

Low Boost

-60–+4[dB]

OFF, ON

0–127

OFF, ON

0–127

OFF, ON

0–127

These boost and cut each of the High, Middle, and Low frequency ranges. At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound.

Turns the Anti-Phase function on and o for the Low frequency ranges. When turned on, the counter-channel of stereo sound is inverted and added to the signal.

Adjusts the level settings for the Low frequency ranges. Adjusting this level for certain frequencies allows you to lend emphasis to specic parts (This is eective only for stereo source.).

Settings of the Anti-Phase function for the Middle frequency ranges. The parameters are the same as for the Low frequency ranges.

Turns Low Booster on/o. This emphasizes the bottom to create a heavy bass sound.

Increasing this value gives you a heavier low end.

Output level

L out

* Depending on the Isolator and lter settings

this eect may be hard to distinguish.

41

MFX/Chorus/Reverb Parameters

L in

R in

R out

2-Band EQ

L in

R in

R out

SAW1 SAW2

L in

R in

L out

R out

Step Filter

L in

R in

R out

L in

R in

R out

04: LOW BOOST

Boosts the volume of the lower range, creating powerful lows.

Parameter

Boost Frequency # 50–125[Hz]

Boost Gain # 0–+12[dB]

3

Boost Width WIDE, MID, NARROW

Low Gain -15–+15[dB] Gain of the low frequency range

High Gain -15–+15[dB] Gain of the high frequency range

Level 0–127 Output level

05: SUPER FILTER

This is a lter with an extremely sharp slope. The cuto frequency can be varied cyclically.

Parameter Value Explanation

Filter Type

Filter Slope

Filter Cuto # 0–127

3

Filter Resonance # 0–127

Filter Gain 0–+12[dB] Amount of boost for the lter output

Modulation Sw OFF, ON On/o switch for cyclic change

Modulation Wave

Rate # 0.05–10.00[Hz], note Rate of modulation

Depth 0–127 Depth of modulation

Attack # 0–127

Level 0–127 Output level

42

Low Boost

2-Band EQ

Value Explanation

Super Filter

L out

Center frequency at which the lower range will be boosted

Amount by which the lower range will be boosted

Width of the lower range that will be boosted

L out

Super Filter

Filter type Frequency range that will pass through each lter

LPF Frequencies below the cuto

BPF Frequencies in the region of the cuto

HPF Frequencies above the cuto

NOTCH Frequencies other than the region of the cuto

Amount of attenuation per octave

-12[dB] Gentle

-24[dB] Steep

-36[dB] Extremely steep

How the cuto frequency will be modulated

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1 Sawtooth wave (upward)

SAW2 Sawtooth wave (downward)

Cuto frequency of the lter Increasing this value will raise the cuto frequency.

Filter resonance level Increasing this value will emphasize the region near the cuto frequency.

Speed at which the cuto frequency will change This is eective if Modulation Wave is SQR, SAW1, or SAW2.

06: STEP FILTER

This is a lter whose cuto frequency can be modulated in steps. You can specify the pattern by which the cuto frequency will change.

Parameter Value Explanation

Step 01–16 0–127 Cuto frequency at each step

Rate # 0.05–10.00[Hz], note Rate of modulation

3

Attack # 0–127

Filter type Frequency range that will pass through each lter

Filter Type

Filter Slope

Filter Resonance # 0–127

Filter Gain 0–+12[dB] Amount of boost for the lter output

Level 0–127 Output level

LPF frequencies below the cuto

BPF frequencies in the region of the cuto

HPF frequencies above the cuto

NOTCH frequencies other than the region of the cuto

Amount of attenuation per octave

-12[dB] gentle

-24[dB] steep

-36[dB] extremely steep

Speed at which the cuto frequency changes between steps

Filter resonance level Increasing this value will emphasize the region near the cuto frequency.

MEMO

You can use MFX control to restart the step sequence from the beginning (p. 18, p. 24).

07: ENHANCER

Controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

Enhancer

Parameter Value Explanation

Sens # 0–127 Sensitivity of the enhancer

Mix # 0–127 Level of the overtones generated by the enhancer

3

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level 0–127 Output Level

Mix

2-Band

EQ

2-Band

EQ

L out

08: AUTO WAH

Cyclically controls a lter to create cyclic change in timbre.

Auto Wah

Parameter Value Explanation

Filter Type

Manual # 0–127

Peak 0–127

Sens # 0–127

Polarity

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth # 0–127 Depth of modulation

Phase # 0–180[deg]

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level 0–127 Output level

2-Band EQ

Type of lter

LPF

BPF

Sets the direction in which the frequency will change when the autowah lter is modulated.

UP The lter will change toward a higher frequency.

DOWN The lter will change toward a lower frequency.

L out

The wah eect will be applied over a wide frequency range.

The wah eect will be applied over a narrow frequency range.

Adjusts the center frequency at which the eect is applied.

Adjusts the amount of the wah eect that will occur in the range of the center frequency. Set a higher value for Q to narrow the range to be aected.

Adjusts the sensitivity with which the lter is controlled.

Adjusts the degree of phase shift of the left and right sounds when the wah eect is applied.

MFX/Chorus/Reverb Parameters

L in

R in

L out

R out

L in

R in

R out

R in

R out

L in

R in

R out

L in

09: HUMANIZER

Adds a vowel character to the sound, making it similar to a human voice.

Overdrive

Parameter Value Explanation

Drive Sw OFF, ON Turns Drive on/o.

Drive # 0–127

Vowel1 a, e, i, o, u

Vowel2 a, e, i, o, u

Rate # 0.05–10.00[Hz], note Frequency at which the two vowels switch

3

Depth # 0–127 Eect depth

Input Sync Sw OFF, ON

Input Sync Threshold

Manual #

Low Gain -15–+15[dB] Gain of the low frequency range

High Gain -15–+15[dB] Gain of the high frequency range

Pan # L64–63R Stereo location of the output

Level 0–127 Output level

Formant

0–127 Volume level at which reset is applied

Point at which Vowel 1/2 switch

49 or less Vowel 1 will have a longer duration.

50 Vowel 1 and 2 will be of equal duration.

51 or more Vowel 2 will have a longer duration.

2-Band

EQ

Degree of distortion Also changes the volume.

Selects the vowel.

LFO reset on/o Determines whether the LFO for switching the vowels is reset by the input signal (ON) or not (OFF).

Pan L

Pan R

10: SPEAKER SIMULATOR

Simulates the speaker type and microphone settings used to record the speaker sound.

Speaker

L out

11: PHASER

This is a stereo phaser. A phase-shifted sound is added to the original sound and modulated.

Phaser

Mix

Phaser

Parameter Value Explanation

Mode

Manual # 0–127

3

Rate 0.05–10.00[Hz], note Frequency of modulation

Depth 0–127 Depth of modulation

Polarity

Resonance # 0–127 Amount of feedback

Cross Feedback -98–+98[%]

Mix # 0–127 Level of the phase-shifted sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level 0–127 Output level

4-STAGE, 8-STAGE, 12-STAGE

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE

SYNCHRO

2-Band

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

The left and right phase will be opposite. When using a mono source, this spreads the sound.

The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

EQ

L out

12: STEP PHASER

This is a stereo phaser. The phaser eect will be varied gradually.

Speaker

Parameter Value Explanation

Speaker Type

Mic Setting 1, 2, 3

Mic Level # 0–127 Volume of the microphone

3

Direct Level # 0–127 Volume of the direct sound

Level # 0–127 Output level

(See the following table)

Type of speaker

Adjusts the location of the microphone that is recording the sound of the speaker. This can be adjusted in three steps, with the microphone becoming more distant in the order of 1, 2, and 3.

Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 small open-back enclosure 10 dynamic

SMALL 2 small open-back enclosure 10 dynamic

MIDDLE open back enclosure 12 x 1 dynamic

JC-120 open back enclosure 12 x 2 dynamic

BUILT-IN 1 open back enclosure 12 x 2 dynamic

BUILT-IN 2 open back enclosure 12 x 2 condenser

BUILT-IN 3 open back enclosure 12 x 2 condenser

BUILT-IN 4 open back enclosure 12 x 2 condenser

BUILT-IN 5 open back enclosure 12 x 2 condenser

BG STACK 1 sealed enclosure 12 x 2 condenser

BG STACK 2 large sealed enclosure 12 x 2 condenser

MS STACK 1 large sealed enclosure 12 x 4 condenser

MS STACK 2 large sealed enclosure 12 x 4 condenser

METAL STACK large double stack 12 x 4 condenser

2-STACK large double stack 12 x 4 condenser

3-STACK large triple stack 12 x4 condenser

Step Phaser

Mix

Step Phaser

Parameter Value Explanation

Mode

Manual # 0–127

3

Rate # 0.05–10.00[Hz], note Frequency of modulation

Depth 0–127 Depth of modulation

Polarity

Resonance # 0–127 Amount of feedback

Cross Feedback -98–+98[%]

Step Rate # 0.10–20.00[Hz], note Rate of the step-wise change in the phaser eect

Mix # 0–127 Level of the phase-shifted sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level 0–127 Output level

4-STAGE, 8-STAGE, 12-STAGE

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE

SYNCHRO

2-Band

Number of stages in the phaser

Adjusts the basic frequency from which the sound will be modulated.

The left and right phase will be opposite. When using a mono source, this spreads the sound.

The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative (-) settings will invert the phase.

EQ

L out

43

MFX/Chorus/Reverb Parameters

Resonance

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

R out

L in

R in

R out

SAW1 SAW2

L in

R in

R out

SAW1 SAW2

L

R

L

13: MLT STAGE PHASER

Extremely high settings of the phase dierence produce a deep phaser eect.

Multi Stage

Phaser

Parameter Value Explanation

Mode

Manual # 0–127

3

Rate # 0.05–10.00[Hz], note Frequency of modulation

Depth 0–127 Depth of modulation

Resonance # 0–127 Amount of feedback

Mix # 0–127 Level of the phase-shifted sound

Pan # L64–63R Stereo location of the output sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level 0–127 Output level

4-STAGE, 8-STAGE, 12-STAGE, 16-STAGE, 20-STAGE, 24-STAGE

Mix

2-Band

EQ

Number of phaser stages

Adjusts the basic frequency from which the sound will be modulated.

Pan L

Pan R

14: INFINITE PHASER

A phaser that continues raising/lowering the frequency at which the sound is modulated.

Infinite Phaser 2-Band EQ

Parameter Value Explanation

Mode 1–4 Higher values will produce a deeper phaser eect.

Speed # -100–+100

3

Resonance # 0–127 Amount of feedback

Mix # 0–127 Volume of the phase-shifted sound

Pan # L64–63R Panning of the output sound

Low Gain -15–+15[dB] Amount of boost/cut for the low-frequency range

High Gain -15–+15[dB] Amount of boost/cut for the high-frequency range

Level 0–127 Output level

Speed at which to raise or lower the frequency at which the sound is modulated (+: upward / -: downward)

Pan L

Pan R

15: RING MODULATOR

This is an eect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the eect.

Ring Mod

Parameter Value Explanation

Frequency # 0–127

3

Sens # 0–127

Polarity

Low Gain -15–+15[dB] Gain of the low frequency range

High Gain -15–+15[dB] Gain of the high frequency range

Balance # D100:0W–D0:100W

Level 0–127 Output level

2-Band EQ

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation

Determines whether the frequency modulation moves towards higher frequencies or lower frequencies.

UP Higher frequencies

DOWN Lower frequencies

applied.

Volume balance between the direct sound (D) and the eect sound (W)

16: STEP RING MOD

This is a ring modulator that uses a 16-step sequence to vary the frequency at which modulation is applied.

Step Ring Mod

Parameter Value Explanation

Step 01–16 0–127 Frequency of ring modulation at each step

Rate # 0.05–10.00[Hz], note Rate at which the 16-step sequence will cycle

3

Attack # 0–127

Low Gain -15–+15[dB] Amount of boost/cut for the low-frequency range

High Gain -15–+15[dB]

Balance # D100:0W–D0:100W

Level 0–127 Output level

2-Band EQ

Speed at which the modulation frequency changes between steps

Amount of boost/cut for the high-frequency range

Volume balance of the original sound (D) and eect sound (W)

L out

MEMO

You can use MFX control to restart the step sequence from the beginning (p. 18, p. 24).

17: TREMOLO

Cyclically modulates the volume to add tremolo eect to the sound.

Tremolo

Parameter Value Explanation

Mod Wave

Rate # 0.05–10.00[Hz], note Frequency of the change

3

Depth # 0–127 Depth to which the eect is applied

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level 0–127 Output level

2-Band EQ

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1, 2 Sawtooth wave

L out

18: AUTO PAN

Cyclically modulates the stereo location of the sound.

Auto Pan

Parameter Value Explanation

Mod Wave

Rate # 0.05–10.00[Hz], note Frequency of the change

3

Depth # 0–127 Depth to which the eect is applied

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level 0–127 Output level

2-Band EQ

Modulation Wave

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1, 2 Sawtooth wave

L out

R

44

MFX/Chorus/Reverb Parameters

L in

R in

R out

L in

R in

R out

L out

R out

L in

R in

L out

R out

L in

R in

19: STEP PAN

This uses a 16-step sequence to vary the panning of the sound.

Step Pan

L out

Step Pan

Parameter Value Explanation

Step 01–16 L64–63R Pan at each step

Rate # 0.05–10.00[Hz], note Rate at which the 16-step sequence will cycle

3

Attack # 0–127 Speed at which the pan changes between steps

Input Sync Sw OFF, ON

Input Sync Threshold

Level 0–127 Output level

0–127 Volume at which an input note will be detected

Species whether an input note will cause the sequence to resume from the rst step of the sequence (ON) or not (OFF)

MEMO

You can use MFX control to restart the step sequence from the beginning (p. 18, p. 24).

20: SLICER

By applying successive cuts to the sound, this eect turns a conventional sound into a sound that appears to be played as a backing phrase. This is especially eective when applied to sustain-type sounds.

Slicer

L out

Slicer

Parameter Value Explanation

Step 01–16 0–127 Level at each step

Rate # 0.05–10.00[Hz], note Rate at which the 16-step sequence will cycle

3

Attack # 0–127 Speed at which the level changes between steps

Input Sync Sw OFF, ON

Input Sync Threshold

Mode

Shue # 0–127

Level 0–127 Output level

0–127 Volume at which an input note will be detected

Sets the manner in which the volume changes as one step progresses to the next.

LEGATO

SLASH

Species whether an input note will cause the sequence to resume from the rst step of the sequence (ON) or not (OFF)

The change in volume from one step’s level to the next remains unaltered. If the level of a following step is the same as the one preceding it, there is no change in volume.

The level is momentarily set to 0 before progressing to the level of the next step. This change in volume occurs even if the level of the following step is the same as the preceding step.

Timing of volume changes in levels for evennumbered steps (step 2, step 4, step 6...). The higher the value, the later the beat progresses.

MEMO

You can use MFX control to restart the step sequence from the beginning (p. 18, p. 24).

21: ROTARY

The Rotary eect simulates the sound of the rotary speakers often used with the electric organs of the past. Since the movement of the high range and low range rotors can be set independently, the unique type of modulation characteristic of these speakers can be simulated quite closely. This eect is most suitable for electric organ Tones.

Rotary

Parameter Value Explanation

Speed #

3

Woofer Slow Speed 0.05–10.00[Hz] Slow speed (SLOW) of the low frequency rotor

Woofer Fast Speed 0.05–10.00[Hz] Fast speed (FAST) of the low frequency rotor

Woofer Acceleration 0–15

Woofer Level 0–127 Volume of the low frequency rotor

Tweeter Slow Speed 0.05–10.00[Hz]

Tweeter Fast Speed 0.05–10.00[Hz]

Tweeter Acceleration

Tweeter Level 0–127

Separation 0–127 Spatial dispersion of the sound

Level # 0–127 Output level

Simultaneously switch the rotational speed of the low frequency rotor and high frequency rotor.

SLOW Slows down the rotation to the Slow Rate.

FAST Speeds up the rotation to the Fast Rate.

Adjusts the time it takes the low frequency rotor to reach the newly selected speed when switching from fast to slow (or slow to fast) speed.

Settings of the high frequency rotor

0–15

The parameters are the same as for the low frequency rotor.

22: VK ROTARY

This type provides modied response for the rotary speaker, with the low end boosted further. This eect features the same specications as the VK-7’s built-in rotary speaker.

2-Band EQ

Rotary

2-Band EQ

Parameter Value Explanation

Speed #

Brake # OFF, ON

3

Woofer Slow Speed 0.05–10.00[Hz] Low-speed rotation speed of the woofer

Woofer Fast Speed 0.05–10.00[Hz] High-speed rotation speed of the woofer

Woofer Trans Up 0–127

Woofer Trans Down 0–127

Woofer Level 0–127 Volume of the woofer

Tweeter Slow Speed 0.05–10.00[Hz]

Tweeter Fast Speed 0.05–10.00[Hz]

Tweeter Trans Up 0–127

Tweeter Trans Down 0–127

Tweeter Level 0–127

Spread 0–10 Sets the rotary speaker stereo image.

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level # 0–127 Output level

Type

Rotational speed of the rotating speaker

SLOW Slow

FAST Fast

STANDARD, STACK, CLEAN

Switches the rotation of the rotary speaker. When this is turned on, the rotation will gradually stop. When it is turned o, the rotation will gradually resume.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from SLOW to FAST.

Adjusts the rate at which the woofer rotation speeds up when the rotation is switched from FAST to SLOW.

Settings of the tweeter The parameters are the same as for the woofer.

Type of speaker

45

MFX/Chorus/Reverb Parameters

L in

R in

R out

Balance D

R in

R out

L in

Balance D

R in

R out

L in

Balance D

L in

L out

R out

Balance D

23: CHORUS

This is a stereo chorus. A lter is provided so that you can adjust the timbre of the chorus sound.

2-Band

EQ

Chorus

Parameter Value Explanation

Filter Type

Cuto Freq 200–8000[Hz]

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth 0–127 Depth of modulation

Phase 0–180[deg] Spatial spread of the sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto Freq

HPF Cuts the frequency range below the Cuto Freq

Balance W

2-Band

EQ

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from the direct sound until the chorus sound is heard.

Volume balance between the direct sound (D) and the chorus sound (W)

L out

24: FLANGER

This is a stereo anger (The LFO has the same phase for left and right.).

It produces a metallic resonance that rises and falls like a jet airplane taking o or landing. A lter is provided so that you can adjust the timbre of the anged sound.

25: STEP FLANGER

This is a anger in which the anger pitch changes in steps. The speed at which the pitch changes can also be specied in terms of a note-value of a specied tempo.

2-Band

Step Flanger

Feedback Feedback

Step Flanger

Balance W

2-Band

Parameter Value Explanation

Filter Type

Cuto Freq 200–8000[Hz]

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

Depth 0–127 Depth of modulation

Phase 0–180[deg] Spatial spread of the sound

Feedback # -98–+98[%]

Step Rate # 0.10–20.00[Hz], note Rate (period) of pitch change

3

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto Freq

HPF Cuts the frequency range below the Cuto Freq

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

EQ

L out

2-Band

EQ

Flanger

Feedback Feedback

Flanger

Parameter Value Explanation

Filter Type

Cuto Freq 200–8000[Hz]

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth 0–127 Depth of modulation

Phase 0–180[deg] Spatial spread of the sound

Feedback # -98–+98[%]

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto Freq

HPF Cuts the frequency range below the Cuto Freq

Balance W

2-Band

EQ

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

L out

26: HEXA-CHORUS

Uses a six-phase chorus (six layers of chorused sound) to give richness and spatial spread to the sound.

Balance D

Hexa Chorus

R in

Parameter Value Explanation

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth 0–127 Depth of modulation

Pre Delay Deviation 0–20

Depth Deviation -20–+20

0–20

Pan Deviation

Balance # D100:0W–D0:100W

Level 0–127 Output level

0 All chorus sounds will be in the center.

20

Balance W

Adjusts the delay time from the direct sound until the chorus sound is heard.

Adjusts the dierences in Pre Delay between each chorus sound.

Adjusts the dierence in modulation depth between each chorus sound.

Adjusts the dierence in stereo location between each chorus sound.

Each chorus sound will be spaced at 60 degree intervals relative to the center.

Volume balance between the direct sound (D) and the chorus sound (W)

46

MFX/Chorus/Reverb Parameters

L in

R in

L out

R out

Balance D

L in

R in

R out

Balance D

L

R

2-Band

EQ

R out

L

R

2-Band

EQ

R out

L

R

2-Band

EQ

R out

27: TREMOLO CHORUS

This is a chorus eect with added Tremolo (cyclic modulation of volume).

Balance D

Balance W

Tremolo Chorus

Balance W

Parameter Value Explanation

Pre Delay 0.0–100[msec]

Chorus Rate # 0.05–10.00[H z], note Modulation frequenc y of the chorus eect

3

Chorus Depth 0–127 Modulation depth of the chorus eect

Tremolo Rate # 0.05–10.00[Hz], note Modulation frequency of the tremolo eect

Tremolo Separation 0–127 Spread of the tremolo eect

Tremolo Phase 0–180[deg] Spread of the tremolo eect

Balance # D100:0W–D0:100W

Level 0–127 Output level

Adjusts the delay time from the direct sound until the chorus sound is heard.

Volume balance between the direct sound (D) and the tremolo chorus sound (W)

28: SPACE-D

This is a multiple chorus that applies two-phase modulation in stereo.

It gives no impression of modulation, but produces a transparent chorus eect.

2-Band

EQ

Space D

Parameter Value Explanation

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth 0–127 Depth of modulation

Phase 0–180[deg] Spatial spread of the sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Balance W

2-Band

EQ

Adjusts the delay time from the direct sound until the chorus sound is heard.

Volume balance between the direct sound (D) and the chorus sound (W)

L out

29: 3D CHORUS

This applies a 3D eect to the chorus sound. The chorus sound will be positioned 90 degrees left and 90 degrees right.

EQ

3D Chorus

2-Band

Parameter Value Explanation

Filter Type

Cuto Freq 200–8000[Hz]

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth 0–127 Modulation depth of the chorus eect

Phase 0–180[deg] Spatial spread of the sound

Output Mode

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto Freq

HPF Cuts the frequency range below the Cuto Freq

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from the direct sound until the chorus sound is heard.

Volume balance between the direct sound (D) and the chorus sound (W)

L out

30: 3D FLANGER

This applies a 3D eect to the anger sound. The anger sound will be positioned 90 degrees left and 90 degrees right.

EQ

L out

3D Flanger

2-Band

Parameter Value Explanation

Filter Type

Cuto Freq 200–8000[Hz]

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth 0–127 Depth of modulation

Phase 0–180[deg] Spatial spread of the sound

Feedback # -98–+98[%]

Output Mode

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto Freq

HPF Cuts the frequency range below the Cuto Freq

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

31: 3D STEP FLANGER

This applies a 3D eect to the step anger sound. The anger sound will be positioned 90 degrees left and 90 degrees right.

EQ

3D Step Flanger

2-Band

Parameter Value Explanation

Filter Type

Cuto Freq 200–8000[Hz]

Pre Delay 0.0–100[msec]

Rate # 0.05–10.00[Hz], note Frequency of modulation

Depth 0–127 Depth of modulation

Phase 0–180[deg] Spatial spread of the sound

Feedback # -98–+98[%]

Step Rate # 0.10–20.00[Hz], note Rate (period) of pitch change

3

Output Mode

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto Freq

HPF Cuts the frequency range below the Cuto Freq

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

Center frequency when using the lter to cut a specic frequency range

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

L out

47

MFX/Chorus/Reverb Parameters

R in

R out

L in

L out

R in

R out

L in

L out

R in

R out

L in

L out

L in

R in

L out

R out

L in

R in

L out

R out

32: 2BAND CHORUS

A chorus eect that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Chorus

Split

Low Band Chorus

High Band Chorus

Split

Low Band Chorus

Parameter Value Explanation

Split Freq 200–8000[H z]

Low Pre Delay 0.0–100[msec]

Low Rate # 0.05–10.00[Hz], note

Low Depth 0–127

Low Phase 0–180[deg] Spaciousness of the low-range chorus sound

High Pre Delay 0.0–100[msec]

High Rate # 0.05–10.00[Hz], note

3

High Depth 0–127

High Phase 0–180[deg] Spaciousness of the high-range chorus sound

Balance # D100:0W–D0:100W

Level 0–127 Output level

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range chorus sound is heard

Rate at which the low-range chorus sound is modulated

Modulation depth for the low-range chorus sound

Delay time from when the original sound is heard to when the high-range chorus sound is heard

Rate at which the high-range chorus sound is modulated

Modulation depth for the high-range chorus sound

Volume balance of the original sound (D) and chorus sound (W)

33: 2BAND FLANGER

A anger that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Flanger

Split

High Band Feedback

Low Band Flanger

Low Band Feedback High Band Feedback

High Band Flanger

Low Band Feedback

Low Band Flanger

34: 2BAND STEP FLNGER

A step anger that lets you apply an eect independently to the low-frequency and high-frequency ranges.

High Band Step Flanger

Split

High Band Feedback

Low Band Step Flanger

Low Band Feedback High Band Feedback

High Band Step Flanger

Split

Low Band Feedback

Low Band Step Flanger

Parameter Value Explanation

Split Freq 200–8000[H z]

Low Pre Delay 0.0–100[msec]

Low Rate # 0.05–10.00[Hz], note

Low Depth 0–127

Low Phase 0–180[deg] Spaciousness of the low-range anger sound

Low Feedback # -98–+98[%]

Low Step Rate # 0.10–20.00[Hz], note

High Pre Delay 0.0–100[msec]

High Rate # 0.05–10.00[Hz], note

High Depth 0–127

High Phase 0–180[deg] Spaciousness of the high-range anger sound

High Feedback # -98–+98[%]

High Step Rate # 0.10–20.00[Hz], note

3

Balance # D100:0W–D0:100W

Level 0–127 Output level

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range anger sound is heard

Rate at which the low-range anger sound is modulated

Modulation depth for the low-range anger sound

Proportion of the low-range anger sound that is to be returned to the input (negative (-) values invert the phase)

Rate at which the steps will cycle for the lowrange anger sound

Delay time from when the original sound is heard to when the high-range anger sound is heard

Rate at which the high-range anger sound is modulated

Modulation depth for the high-range anger sound

Proportion of the high-range anger sound that is to be returned to the input (negative (-) values invert the phase)

Rate at which the steps will cycle for the highrange anger sound

Volume balance of the original sound (D) and anger sound (W)

35: OVERDRIVE

Creates a soft distortion similar to that produced by vacuum tube ampliers.

Parameter Value Explanation

Split Freq 200–8000[H z]

Low Pre Delay 0.0–100[msec]

Low Rate # 0.05–10.00[Hz], note

Low Depth 0–127

Low Phase 0–180[deg] Spaciousness of the low-range anger sound

Low Feedback # -98–+98[%]

High Pre Delay 0.0–100[msec]

High Rate # 0.05–10.00[Hz], note

3

High Depth 0–127

High Phase 0–180[deg] Spaciousness of the high-range anger sound

High Feedback # -98–+98[%]

Balance # D100:0W–D0:100W

Level 0–127 Output level

Frequency at which the low and high ranges will be divided

Delay time from when the original sound is heard to when the low-range anger sound is heard

Rate at which the low-range anger sound is modulated

Modulation depth for the low-range anger sound

Proportion of the low-range anger sound that is to be returned to the input (negative (-) values invert the phase)

Delay time from when the original sound is heard to when the high-range anger sound is heard

Rate at which the high-range anger sound is modulated

Modulation depth for the high-range anger sound

Proportion of the high-range anger sound that is to be returned to the input (negative (-) values invert the phase)

Volume balance of the original sound (D) and anger sound (W)

48

Over drive

Parameter Value Explanation

Drive # 0–127

3

Amp Type

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Pan # L64–63R Stereo location of the output sound

Level 0–127 Output level

Amp

Simulator

Type of guitar amp

SMALL Small amp

BUILT-IN Single-unit type amp

2-STACK Large double stack amp

3-STACK Large triple stack amp

2-Band

EQ

Degree of distortion Also changes the volume.

Pan L

Pan R

36: DISTORTION

Produces a more intense distortion than Overdrive. The parameters are the same as for “35: OVERDRIVE.”

Distortion

Amp

Simulator

2-Band

EQ

Pan L

Pan R

MFX/Chorus/Reverb Parameters

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

L out

R out

L in

R in

R out

L in

R in

R out

37: VS OVERDRIVE

This is an overdrive that provides heavy distortion.

Overdrive

Parameter Value Explanation

3

Drive #

Tone #

Amp Sw

Amp Type

Low Gain

High Gain

Pan #

Level

Amp

Simulator

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

Type of guitar amp

SMALL Small amp

BUILT-IN Single-unit type amp

2-STACK Large double stack amp

3-STACK Large triple stack amp

-15–+15[dB] Gain of the low range

-15–+15[dB] Gain of the high range

L64–63R Stereo location of the output sound

0–127 Output level

2-Band

Degree of distortion Also changes the volume.

EQ

Pan L

Pan R

38: VS DISTORTION

This is a distortion eect that provides heavy distortion. The parameters are the same as for “37: VS OVERDRIVE.”

Distortion

Amp

Simulator

2-Band

EQ

Pan L

Pan R

39: GUITAR AMP SIM

This is an eect that simulates the sound of a guitar amplier.

Pre Amp

Speaker

Pan L

Pan R

Specications of each Speaker Type

The speaker column indicates the diameter of each speaker unit (in inches) and the number of units.

Type Cabinet Speaker Microphone

SMALL 1 small open-back enclosure 10 dynamic

SMALL 2 small open-back enclosure 10 dynamic

MIDDLE open back enclosure 12 x 1 dynamic

JC-120 open back enclosure 12 x 2 dynamic

BUILT-IN 1 open back enclosure 12 x 2 dynamic

BUILT-IN 2 open back enclosure 12 x 2 condenser

BUILT-IN 3 open back enclosure 12 x 2 condenser

BUILT-IN 4 open back enclosure 12 x 2 condenser

BUILT-IN 5 open back enclosure 12 x 2 condenser

BG STACK 1 sealed enclosure 12 x 2 condenser

BG STACK 2 large sealed enclosure 12 x 2 condenser

MS STACK 1 large sealed enclosure 12 x 4 condenser

MS STACK 2 large sealed enclosure 12 x 4 condenser

METAL STACK large double stack 12 x 4 condenser

2-STACK large double stack 12 x 4 condenser

3-STACK large triple stack 12 x 4 condenser

40: COMPRESSOR

Flattens out high levels and boosts low levels, smoothing out uctuations in volume.

Compressor

Parameter Value Explanation

Attack # 0–127

Threshold # 0–127 Adjusts the volume at which compression begins

3

Post Gain 0–+18[dB] Adjusts the output gain.

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level # 0–127 Output level

2-Band EQ

L out

Sets the time from when the input exceeds the Threshold until the volume starts being compressed

Parameter Value Explanation

Pre Amp Sw OFF, ON Turns the amp switch on/o.

Pre Amp Type

Pre Amp Volume # 0–127 Volume and amount of distortion of the amp

3

Pre Amp Master # 0–127 Volume of the entire pre-amp

Pre Amp Gain LOW, MIDDLE, HIGH Amount of pre-amp distortion

Pre Amp Bass

Pre Amp Middle

Pre Amp Treble

Pre Amp Presence 0–127 Tone for the ultra-high frequency range

Pre Amp Bright OFF, ON

Speaker Sw OFF, ON

Speaker Type

Mic Setting 1–3

Mic Level 0–127 Volume of the microphone

Direct Level 0–127 Volume of the direct sound

Pan # L64–63R Stereo location of the output sound

Level # 0–127 Output level

JC-120, CLEAN TWIN, MATCH DRIVE, BG LEAD, MS1959I, MS1959II, MS1959I+II, SLDN LEAD, METAL 5150, METAL LEAD, OD-1, OD-2 TURBO, DISTORTION, FUZZ

0–127

(See the following table)

Type of guitar amp

Tone of the bass/mid/treble frequency range Middle cannot be set if “MATCH DRIVE” is selected as the Pre Amp Type.

Turning this “On” produces a sharper and brighter sound. This parameter applies to the “JC-120,” “CLEAN TWIN,” and “BG LEAD” Pre Amp Types.

Determines whether the signal passes through the speaker (ON), or not (OFF).

Type of speaker

Adjusts the location of the microphone that’s capturing the sound of the speaker. This can be adjusted in three steps, from 1 to 3, with the microphone becoming more distant as the value increases.

41: LIMITER

Compresses signals that exceed a specied volume level, preventing distortion from occurring.

Limiter

Parameter Value Explanation

Release # 0–127

Threshold # 0–127 Adjusts the volume at which compression begins

3

Ratio 1.5:1, 2:1, 4:1, 100:1 Compression ratio

Post Gain 0–+18[dB] Adjusts the output gain.

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Level # 0–127 Output level

2-Band EQ

L out

Adjusts the time after the signal volume falls below the Threshold Level until compression is no longer applied.

49

MFX/Chorus/Reverb Parameters

L in

R in

R out

R in

R out

L in

Balance D

R in

R out

L in

Balance D

L in

R in

R out

EQ

2-Band

R in

R out

L in

2-Band

EQ

42: GATE

Cuts the reverb’s delay according to the volume of the sound sent into the eect. Use this when you want to create an articial-sounding decrease in the reverb’s decay.

Gate

L out

Gate

Parameter Value Explanation

Threshold # 0–127 Volume level at which the gate begins to close

3

Mode

Attack 0–127

Hold 0–127

Release 0–127

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of gate

GATE

DUCK (Duking)

The gate will close when the volume of the original sound decreases, cutting the original sound.

The gate will close when the volume of the original sound increases, cutting the original sound.

Adjusts the time it takes for the gate to fully open after being triggered.

Adjusts the time it takes for the gate to start closing after the source sound falls beneath the Threshold.

Adjusts the time it takes the gate to fully close after the hold time.

Volume balance between the direct sound (D) and the eect sound (W)

43: DELAY

This is a stereo delay.

When Feedback Mode is NORMAL:

Delay

Feedback Feedback

Delay

2-Band

Balance W

2-Band

EQ

L out

When Feedback Mode is CROSS:

2-Band

Delay

Feedback

Delay

Balance W

2-Band

Parameter Value Explanation

Delay Left

Delay Right

Phase Left

Phase Right

Feedback Mode NORMAL, CROSS

Feedback # -98–+98[%]

3

HF Damp

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

0–1300[msec], note Adjusts the time until the delay sound is heard.

Phase of the left delay sound

NORMAL Non-inverted

INVERT Inverted

Phase of the right delay sound

NORMAL Non-inverted

INVERT Inverted

200–8000[Hz], BYPASS

Selects the way in which delay sound is fed back into the eect (See the gures.).

Adjusts the amount of the delay sound that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

EQ

L out

50

44: LONG DELAY

A delay that provides a long delay time.

L out

EQ

Long Delay

Feedback

Parameter Value Explanation

Delay Time 0–2600[msec], note

3

Phase NORMAL, INVERSE

Feedback # -98–+98[%]

HF Damp

Pan # L64–63R Panning of the delay sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

Pan L

Pan R

2-Band

Delay time from when the original sound is heard to when the delay sound is heard

Phase of the delay (NORMAL: non-inverted, INVERT: inverted)

Proportion of the delay sound that is to be returned to the input (negative (-) values invert the phase)

Frequency at which the high-frequency content of the delayed sound will be cut (BYPASS: no cut)

Volume balance of the original sound (D) and delay sound (W)

45: SERIAL DELAY

This delay connects two delay units in series. Feedback can be applied independently to each delay unit, allowing you to produce complex delay sounds.

L out

EQ

Pan L

Delay 1

Feedback 1

Parameter Value Explanation

Delay 1 Time 0–1300[msec], note

Delay 1 Feedback # -98–+98[%]

3

Delay 1 HF Damp

Delay 2 Time 0–1300[msec], note

Delay 2 Feedback # -98–+98[%]

Delay 2 HF Damp

Pan # L64–63R Panning of the delay sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

Delay 2

Feedback 2

Delay time from when sound is input to delay 1 until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of delay 1 (negative (-) values invert the phase)

Frequency at which the high-frequency content of the delayed sound of delay 1 will be cut (BYPASS: no cut)

Delay time from when sound is input to delay 2 until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of delay 2 (negative (-) values invert the phase)

Frequency at which the high-frequency content of the delayed sound of delay 2 will be cut (BYPASS: no cut)

Volume balance of the original sound (D) and delay sound (W)

Pan R

2-Band

MFX/Chorus/Reverb Parameters

R in R out

L in

Balance D

R in

R out

L in

Balance D

L in

R in

R out

Balance D

L in

R in

L out

R out

Balance D

L

L in

R in

R out

Balance D

46: MODULATION DELAY

Adds modulation to the delayed sound.

When Feedback Mode is NORMAL:

2-Band

EQ

Delay

Feedback Feedback

Delay

Modulation

Balance W

2-Band

EQ

When Feedback Mode is CROSS:

2-Band

Delay

Modulation

Feedback Feedback

Delay

Modulation

Parameter Value Explanation

Delay Left

Delay Right

Feedback Mode NORMAL, CROSS

Feedback # -98–+98[%]

HF Damp

Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Depth 0–127 Depth of modulation

Phase 0–180[deg] Spatial spread of the sound

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

0–1300[msec], note Adjusts the time until the delay sound is heard.

200–8000[Hz], BYPASS

EQ

Balance W

2-Band

EQ

Selects the way in which delay sound is fed back into the eect (See the gures.)

Adjusts the amount of the delay sound that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

47: 3TAP PAN DELAY

Produces three delay sounds; center, left and right.

2-Band

EQ

Left Tap

Triple Tap Delay

Feedback

Parameter Value Explanation

Delay Left, Right, Center

Center Feedback # -98–+98[%]

3

HF Damp

Left, Right, Center Level

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

0–2600[msec], note

200–8000[Hz], BYPASS

0–127 Volume of each delay

Center Tap

Right Tap

Balance W

2-Band

EQ

Adjusts the time from the original sound until the left, right, and center delayed sounds are heard

Adjusts the amount of the delay sound that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

L out

48: 4TAP PAN DELAY

This eect has four delays.

2-Band

EQ

Balance W

2-Band

EQ

1

Feedback

2 3

Delay 1

Delay 2

Quadruple

Tap Delay

Delay 3

Delay 4

Stereo location of each delay

4

R

Parameter Value Explanation

Delay 1–4 Time 0–2600[msec], note

Delay 1 Feedback # -98–+98[%]

3

HF Damp

Delay 1–4 Level 0–127 Volume of each delay

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

Adjusts the time from the original sound until delay sounds 1–4 are heard

Adjusts the amount of the delay sound that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

49: MULTI TAP DELAY

This eect provides four delays. Each of the Delay Time parameters can be set to a note length based on the selected tempo. You can also set the panning and level of each delay sound.

Feed back

Delay 1

Delay 3

Balance W

Multi Tap Delay

2-Band

Delay 4

Delay 2

Parameter Value Explanation

Delay 1–4 Time 0–2600[msec], note Adjusts the time until Delays 1–4 are heard.

Delay 1 Feedback # -98–+98[%]

3

HF Damp

Delay 1–4 Pan L64–63R Stereo location of Delays 1–4

Delay 1–4 Level 0–127 Output level of Delays 1–4

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

Balance W

2-Band

Adjusts the amount of the delay sound that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any the high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the eect sound (W)

EQ

L out

51

MFX/Chorus/Reverb Parameters

L in

R in

R out

EQ

2-Band

L in

R in

R out

EQ

2-Band

L

R

2-Band

EQ

R out

R in

R out

L in

50: REVERSE DELAY

This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay.

L out

Feedback

Rev. Delay

Parameter Value Explanation

Threshold 0–127

Rev Delay Time 0–1300[msec], note

Rev Delay

3

Feedback #

Rev Delay HF Damp

Rev Delay Pan L64–63R Panning of the reverse delay sound

Rev Delay Level 0–127 Volume of the reverse delay sound

Delay 1–3 Time 0–1300[msec], note

Delay 3 Feedback # -98–+98[%]

Delay HF Damp

Delay 1 Pan,

Delay 2 Pan

Delay 1 Level,

Delay 2 Level

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Rev

D1

Delay

D2

D3

Volume at which the reverse delay will begin to be applied

Delay time from when sound is input into the reverse delay until the delay sound is heard

-98–+98[%]

200–8000[Hz], BYPASS

L64–63R Panning of the tap delay sounds

0–127 Volume of the tap delay sounds

Proportion of the delay sound that is to be returned to the input of the reverse delay (negative (-) values invert the phase)

Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no cut)

Delay time from when sound is input into the tap delay until the delay sound is heard

Proportion of the delay sound that is to be returned to the input of the tap delay (negative (-) values invert the phase)

Frequency at which the hi-frequency content of the tap delay sound will be cut (BYPASS: no cut)

Volume balance of the original sound (D) and delay sound (W)

EQ

2-Band

51: SHUFFLE DELAY

Adds a shue to the delay sound, giving the sound a bouncy delay eect with a swing feel.

L out

Feedback

Delay A

A

Delay

Delay B

Parameter Value Explanation

Delay Time # 0–2600[msec], note Adjusts the time until the delay sound is heard.

3

Shue Rate # 0–100

Acceleration 0–15

Feedback # -98–+98[%]

HF Damp

Pan A, B L64–63R Stereo location of Delay A/B

Level A, B 0–127 Volume of delay A/B

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

B

Adjusts the ratio (as a percentage) of the time that elapses before Delay B sounds relative to the time that elapses before the Delay A sounds. When set to 100, the delay times are the same.

Adjusts the speed which the Delay Time changes from the current setting to its specied new setting.

Adjusts the amount of the delay that’s feedback into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the eect sound (W)

EQ

2-Band

52: 3D DELAY

This applies a 3D eect to the delay sound. The delay sound will be positioned 90 degrees left and 90 degrees right.

L out

3D Delay L

Level

EQ

3D Delay C

Feedback

3D Delay R

2-Band

Parameter Value Explanation

Delay Left

Delay Right

Delay Center

Center Feedback # -98–+98[%]

3

HF Damp

Left Level

Center Level

Output Mode

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

0–2600[msec], note

200–8000[Hz], BYPASS

0–127 Output level of the delay soundRight Level

The optimal 3D eect will be achieved.

SPEAKER When using speakers

PHONES When using headphones

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the eect sound (W)

53: ANALOG DELAY

A stereo delay in which the delay time can be varied smoothly.

2-Band EQ

Time Ctrl Delay

Feedback Feedback

Time Ctrl Delay

Pan L

Pan R

2-Band EQ

Parameter Value Explanation

Delay Time # 0–1300[msec], note Adjusts the time until the delay is heard.

3

Acceleration 0–15

Feedback # -98–+98[%]

HF Damp

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

Adjusts the speed which the Delay Time changes from the current setting to a specied new setting. The rate of change for the Delay Time directly aects the rate of pitch change.

Adjusts the amount of the delay that’s fed back into the eect. Negative (-)settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

L out

52

MFX/Chorus/Reverb Parameters

L in

R in

R out

Balance D

2-Band

L in

R in

L out

R out

Direct Level

R in

R out

L in

2-Band

EQ

L in

R in

R out

2-Band

EQ

54: ANALOG LONG DELAY

A delay in which the delay time can be varied smoothly, and allowing an extended delay to be produced.

L out

Balance D

Time Control Delay

Feedback

Parameter Value Explanation

Delay Time # 0–2600[msec], note Adjusts the time until the delay is heard.

3

Acceleration 0–15

Feedback # -98–+98[%]

HF Damp

Pan # L64–63R Stereo location of the delay

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

EQ

Balance W

2-Band

EQ

Adjusts the speed which the Delay Time changes from the current setting to a specied new setting. The rate of change for the Delay Time directly aects the rate of pitch change.

Adjusts the amount of the delay that’s fed back into the eect. Negative (-) settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the delay sound (W)

55: TAPE ECHO

A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo.

Direct Level

Tape Echo

Echo Level

56: LOFI NOISE

In addition to a lo- eect, this adds various types of noise such as white noise and disc noise.

Lo-Fi

EQ

Noise Gen.

Lo-Fi

2-Band

Parameter Value Explanation

LoFi Type 1–9

Type of lter that follows the LoFi eect

Post Filter Type

Post Filter Cuto 200–8000[Hz] Center frequency of the lter

W/P Noise Type WHITE, PINK Switch between white noise and pink noise.

W/P Noise LPF

W/P Noise Level # 0–127 Volume of the white/pink noise

Disc Noise Type LP, EP, SP, RND

Disc Noise LPF

Disc Noise Level # 0–127 Volume of the record noise

Hum Noise Type 50, 60[Hz] Frequency of the hum noise

Hum Noise LPF

Hum Noise Level # 0–127 Volume of the hum noise

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

3

Level 0–127 Output level

OFF No lter is used

LPF Cuts the frequency range above the Cuto.

HPF Cuts the frequency range below the Cuto.

200–8000[Hz], BYPASS

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Center frequency of the low pass lter applied to the white/pink noise (BYPASS: no cut)

Type of record noise The frequency at which the noise is heard depends on the selected type.

Adjusts the cuto frequency of the low pass lter applied to the record noise. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

Center frequency of the low pass lter applied to the hum noise (BYPASS: no cut)

Volume balance between the direct sound (D) and the eect sound (W)

L out

Parameter Value Explanation

Mode

Repeat Rate # 0–127

3

Intensity # 0–127 Amount of delay repeats

Bass -15–+15[dB] Boost/cut for the lower range of the echo sound

Treble -15–+15[dB] Boost/cut for the upper range of the echo sound

Head S Pan

Head M Pan

Head L Pan

Tape Distortion 0–5

Wow/Flutter Rate 0–127

Wow/Flutter Depth 0–127 Depth of wow/utter

Echo Level # 0–127 Volume of the echo sound

Direct Level # 0–127 Volume of the original sound

Level 0–127 Output level

S, M, L, S+M, S+L, M+L, S+M+L

L64–63R

Combination of playback heads to use Select from three dierent heads with dierent delay times. S: short, M: middle, L: long

Tape speed Increasing this value will shorten the spacing of the delayed sounds.

Independent panning for the short, middle, and long playback heads

Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

Speed of wow/utter (complex variation in pitch caused by tape wear and rotational irregularity)

57: LOFI COMPRESS

This is an eect that intentionally degrades the sound quality for creative purposes.

Compressor

Parameter Value Explanation

Pre Filter Type

LoFi Type 1–9

Post Filter Type

Post Filter Cuto 200–8000[Hz] Basic frequency of the Post Filter

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

3

Level # 0–127 Output level

Selects the type of lter applied to the sound before it passes through the Lo-Fi eect.

1 Compressor o

2–6 Compressor on

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto

HPF Cuts the frequency range below the Cuto

Lo-Fi

EQ

2-Band

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Volume balance between the direct sound (D) and the eect sound (W)

L out

53

MFX/Chorus/Reverb Parameters

R in

R out

L in

2-Band

EQ

L in

R in

R out

L in

R in

R out

Balance D

L in

R out

L in

R in

R out

Balance D

58: LOFI RADIO

In addition to a Lo-Fi eect, this eect also generates radio noise.

EQ

L out

Lo-Fi

Radio

Lo-Fi

2-Band

Parameter Value Explanation

LoFi Type 1–9

Type of lter

Post Filter Type

Post Filter Cuto 200–8000[Hz] Basic frequency of the Post Filter

Radio Detune # 0–127

3

Radio Noise Level # 0–127 Volume of the radio noise

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

OFF No lter is used

LPF Cuts the frequency range above the Cuto.

HPF Cuts the frequency range below the Cuto.

Degrades the sound quality. The sound quality grows poorer as this value is increased.

Simulates the tuning noise of a radio. As this value is raised, the tuning drifts further.

Volume balance between the direct sound (D) and the eect sound (W)

59: TELEPHONE

This eect produces a mued sound, like that heard through a telephone.

Telephone

L out

Telephone

Parameter Value Explanation

Voice Quality # 0–15 Audio quality of the telephone voice

3

Treble -15–+15[dB] Bandwidth of the telephone voice

Balance # D100:0W–D0:100W

Level 0–127 Output level

Volume balance between the direct sound (D) and the eect sound (W)

60: PHONOGRAPH

Simulates a sound recorded on an analog record and played back on a record player. This eect also simulates the various types of noise that are typical of a record, and even the rotational irregularities of an old turntable.

L out

Balance W

Frequency response of the playback system Decreasing this value will produce the impression of an old system with a poor frequency response.

Rotational speed of the turntable This will aect the frequency of the scratch noise.

Volume balance between the direct sound (D) and the eect sound (W)

Phonograph

Parameter Value Explanation

Signal Distortion 0–127 Depth of distor tion

Frequency Range 0–127

Disc Type LP, EP, SP

Scratch Noise Level 0–127 Amount of noise due to scratches on the record

Dust Noise Level 0–127 Volume of noise due to dust on the record

Hiss Noise Level 0–127 Volume of continuous “hiss”

Total Noise Level # 0–127 Volume of overall noise

Wow 0–127 Depth of long- cycle rotational irregularity

Flutter 0–127 Depth of shor t-cycle rotational irregularity

Random 0–127 Depth of indenite-cycle rotational irregularity

Total Wow/Flutter # 0–127 Depth of overall rotational irregularity

3

Balance #

Level 0–127 Output level

D100:0W– D0:100W

61: PITCH SHIFTER

A stereo pitch shifter.

2-Band EQ

L out

Pitch Shifter

R in

Parameter Value Explanation

Coarse #1 -24–+12[semi]

3

Fine #1 -100–+100[cent]

Delay Time 0–1300[msec], note

Feedback # -98–+98[%]

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

2-Band EQ

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

Adjusts the delay time from the direct sound until the pitch shifted sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the eect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

62: 2VOI PCH SHIFTER

Shifts the pitch of the original sound. This 2-voice pitch shifter has two pitch shifters, and can add two pitch shifted sounds to the original sound.

Level 1

2Voice

Pitch Shifter

Level 2

Parameter Value Explanation

Pitch1 Coarse #1 -24–+12[semi]

3

Pitch1 Fine #1 -100–+100[cent]

Pitch1 Delay 0–1300[msec], note

Pitch1 Feedback # -98–+98[%]

Pitch1 Pan # L64–63R Stereo location of the Pitch Shift 1 sound

Pitch1 Level 0–127 Volume of the Pitch Shift1 sound

Pitch2 Coarse #2 -24–+12[semi]

Pitch2 Fine #2 -100–+100[cent]

Pitch2 Delay 0–1300[msec], note

Pitch2 Feedback # -98–+98[%]

Pitch2 Pan # L64–63R

Pitch2 Level 0–127

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Pan 1 L

Pan 1 R

Pan 2 L

Pan 2 R

2-Band

Balance W

2-Band

Adjusts the pitch of Pitch Shift 1 in semitone steps.

Adjusts the pitch of Pitch Shift Pitch 1 in 2-cent steps.

Adjusts the delay time from the direct sound until the Pitch Shift 1 sound is heard.

Adjusts the proportion of the pitch shifted sound that is fed back into the eect. Negative (-) settings will invert the phase.

Settings of the Pitch Shift 2 sound. The parameters are the same as for the Pitch Shift 1 sound.

Volume balance between the direct sound (D) and the pitch shifted sound (W)

EQ

L out

54

MFX/Chorus/Reverb Parameters

L in

R in

R out

2-Band

EQ

L in

R in

R out

Balance D

2-Band

L in

R in

R out

Balance D

2-Band

L in

R in

L out

Balance W

Balance D

L in

R in

Balance W

Balance D

63: STEP PCH SHIFTER

A pitch shifter in which the amount of pitch shift is varied by a 16-step sequence.

EQ

L out

Step Pitch Shifter

2-Band

Parameter Value Explanation

Step 01–16 -24–+12[semi]

Rate # 0.05–10.0[Hz], note Rate at which the 16-step sequence will cycle

Attack # 0–127

Gate Time # 0–127 Duration of the pitch shifted sound at each step

3

Fine -100–+100[cent] Pitch shift adjustment for all steps (2-cent units)

Delay Time 0–1300[msec], note

Feedback # -98–+98[%]

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Amount of pitch shift at each step (semitone units)

Speed at which the amount of pitch shift changes between steps

Delay time from the original sound until the pitch-shifted sound is heard

Proportion of the pitch-shifted sound that is to be returned to the input (negative (-) values invert the phase)

Volume balance of the original sound (D) and pitch-shifted sound (W)

MEMO

You can use MFX control to restart the step sequence from the beginning (p. 18, p. 24).

64: REVERB

Adds reverberation to the sound, simulating an acoustic space.

Balance D

EQ

Balance W

Reverb

Balance W

2-Band

EQ

Parameter Value Explanation

Type

Pre Delay 0.0–100[msec]

Time # 0–127 Time length of reverberation

3

HF Damp

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

Level 0–127 Output level

Type of reverb

ROOM1 Dense reverb with shor t decay

ROOM2 Sparse reverb with shor t decay

STAGE1 Reverb with greater late reverberation

STAGE2 Reverb with strong early reections

HALL1 Reverb with clear reverberance

HALL2 Reverb with rich reverberance

200–8000[Hz], BYPASS

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the frequency above which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Volume balance between the direct sound (D) and the reverb sound (W)

L out

65: GATED REVERB

This is a special type of reverb in which the reverberant sound is cut o before its natural length.

Balance D

EQ

Balance W

L out

Gated Reverb

Balance W

2-Band

EQ

Parameter Value Explanation

Type

Pre Delay 0.0–100[msec]

Gate Time 5–500[msec]

Low Gain -15–+15[dB] Gain of the low range

High Gain -15–+15[dB] Gain of the high range

Balance # D100:0W–D0:100W

3

Level # 0–127 Output level

Type of reverb

NORMAL Conventional gated reverb

REVERSE Backwards reverb

SWEEP1 The reverberant sound moves from right to left

SWEEP2 The reverberant sound moves from left to right

Adjusts the delay time from the direct sound until the reverb sound is heard.

Adjusts the time from when the reverb is heard until it disappears.

Volume balance between the direct sound (D) and the reverb sound (W)

66: OD0CHORUS

Balance D

Overdrive

Chorus

R out

Parameter Value Explanation

Overdrive Drive # 0–127

Overdrive Pan # L64–63R Stereo location of the overdrive sound

Chorus Pre Delay 0.0–100[msec]

Chorus Rate # 0.05–10.00[H z], note Frequency of modulation

3

Chorus Depth 0–127 Depth of modulation

Chorus Balance # D100:0W–D0:100W

Level 0–127 Output level

Degree of distortion Also changes the volume.

Adjusts the delay time from the direct sound until the chorus sound is heard.

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

67: OD0FLANGER

Feedback

Overdrive

Parameter Value Explanation

Overdrive Drive # 0–127

Overdrive Pan # L64–63R Stereo location of the overdrive sound

Flanger Pre Delay 0.0–100[msec]

Flanger Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Flanger Depth 0–127 Depth of modulation

Flanger Feedback # -98–+98[%]

Flanger Balance # D100:0W–D0:100W

Level 0–127 Output level

Flanger

Degree of distortion Also changes the volume.

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

L out

R out

55

MFX/Chorus/Reverb Parameters

L in

R in

L out

Balance W

Balance D

L in

R in

L out

Balance W

Balance D

L in

R in

Balance W

Balance D

L in

R in

L out

Balance W

Balance D

L in

R in

L out

R out

Mix

Enhancer

Balance W

R in

L out

R out

Mix

Balance W

Balance D

L in

R in

L out

Mix

Enhancer

Balance W

R in

L out

R out

Balance W

Balance D

68: OD0DELAY

Balance D

Overdrive

Parameter Value Explanation

Overdrive Drive # 0–127

Overdrive Pan # L64–63R Stereo location of the overdrive sound

Delay Time 0–2600[msec], note

Delay Feedback # -98–+98[%]

3

Delay HF Damp 200–8000[Hz], note

Delay Balance # D100:0W–D0:100W

Level 0–127 Output level

Delay

Feedback

Degree of distortion Also changes the volume.

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

R out

69: DST0CHORUS

The parameters are essentially the same as in “66: OD0CHORUS” with the exception of the following two.

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

Balance D

Distortion

Chorus

Parameter Value Explanation

Enhancer Sens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Chorus Pre Delay 0.0–100[msec]

Chorus Rate # 0.05–10.00[H z], note Frequency of modulation

3

Chorus Depth 0–127 Depth of modulation

Chorus Balance # D100:0W–D0:100W

Level 0–127 Output level

Level of the overtones generated by the enhancer

Adjusts the delay time from the direct sound until the chorus sound is heard.

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

73: ENH0FLANGER

L in

Enhancer

Parameter Value Explanation

Enhancer Sens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127

Flanger Pre Delay 0.0–100[msec]

Flanger Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Flanger Depth 0–127 Depth of modulation

Flanger Feedback # -98–+98[%]

Flanger Balance # D100:0W–D0:100W

Level 0–127 Output level

Mix

Feedback

Flanger

Level of the overtones generated by the enhancer

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

R out

70: DST0FLANGER

The parameters are essentially the same as in “67: OD0FLANGER,” with the exception of the following two.

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

L out

Distortion

Feedback

Flanger

R out

71: DST0DELAY

The parameters are essentially the same as in “68: OD0DELAY,” with the exception of the following two.

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

Balance D

Distortion

Delay

Feedback

R out

72: ENH0CHORUS

74: ENH0DELAY

Mix

Enhancer

Parameter Value Explanation

Enhancer Sens # 0–127 Sensitivity of the enhancer

Enhancer Mix # 0–127 Level of the overtones generated by the enhancer

Delay Time 0–2600[msec], note

Delay Feedback # -98–+98[%]

3

Delay HF Damp

Delay Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

Balance D

Delay

Feedback

Balance D

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

Balance W

R out

75: CHORUS0DELAY

L in

Balance W

Chorus

Balance W

Balance D

Delay

Feedback

56

Enhancer

Mix

Balance D

Chorus

Balance D

Parameter Value Explanation

Chorus Pre Delay 0.0–100[msec]

Chorus Rate # 0.05–10.00[H z], note Frequency of modulation

3

Chorus Depth 0–127 Depth of modulation

Chorus Balance # D100:0W–D0:100W

Delay Time 0–2600[msec], note

Adjusts the delay time from the direct sound until the chorus sound is heard.

Volume balance between the direct sound (D) and the chorus sound (W)

Adjusts the delay time from the direct sound until the delay sound is heard.

MFX/Chorus/Reverb Parameters

L in

R in

R out

Balance W

Balance D

L in

R in

L out

R out

Balance W

Balance D

L in

R out

3-Band

EQ

INPUT

R in

R out

Mic Mix

L in

R in

R out

Parameter Value Explanation

Delay Feedback # -98–+98[%]

Delay HF Damp

Delay Balance # D100:0W–D0:100W

Level 0–127 Output level

200–8000[Hz], BYPASS

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

76: FLANGER0DELAY

Feedback

Flanger

Balance D

Parameter Value Explanation

Flanger Pre Delay 0.0–100[msec]

Flanger Rate # 0.05–10.00[Hz], note Frequency of modulation

3

Flanger Depth 0–127 Depth of modulation

Flanger Feedback # -98–+98[%]

Flanger Balance # D100:0W–D0:100W

Delay Time 0–2600[msec], note

Delay Feedback # -98–+98[%]

Delay HF Damp 200–8000[Hz], note

Delay Balance # D100:0W–D0:100W

Level 0–127 Output level

Balance W

Balance D

Delay

Feedback

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Volume balance between the direct sound (D) and the anger sound (W)

Adjusts the delay time from the direct sound until the delay sound is heard.

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

L out

78: SYMPATHETIC RESO

On an acoustic piano, holding down the damper pedal allows other strings to resonate in sympathy with the notes you play, creating rich and spacious resonances. This eect simulates these sympathetic resonances.

EQ

Sym. Resonance

R in

Parameter Value Explanation

Depth # 0–127 Depth of the eect

3

Damper # 0–127

Pre LPF

Pre HPF

Peaking Freq 200–8000[Hz]

Peaking Gain -15–+15[dB]

Peaking Q 0.5, 1.0, 2.0, 4.0, 8.0

HF Damp

LF Damp

Lid 1–6

EQ Low Freq 200, 400[Hz] Frequency of the low-range EQ

EQ Low Gain -15–+15[dB] Amount of low-range boost/cut

EQ Mid Freq 200–8000[Hz] Frequency of the midrange EQ

EQ Mid Gain -15–+15[dB] Amount of midrange boost/cut

EQ Mid Q 0.5, 1.0, 2.0, 4.0, 8.0

EQ High Freq

EQ High Gain -15–+15[dB] Amount of high-range boost/cut

Level 0–127 Output level

16–15000[Hz], BYPASS

BYPASS, 16–15000[Hz]

16–15000[Hz], BYPASS

BYPASS, 16–15000[Hz]

2000, 4000, 8000[Hz]

3-Band

Depth to which the damper pedal is pressed (controls the resonant sound)

Frequency of the lter that cuts the highfrequency content of the input sound (BYPASS: no cut)

Frequency of the lter that cuts the low-frequency content of the input sound (BYPASS: no cut)

Frequency of the lter that boosts/cuts a specic frequency region of the input sound

Amount of boost/cut produced by the lter at the specied frequency region of the input sound

Width of the frequency region boosted/cut by the Peaking Gain parameter (larger values make the region narrower)

Frequency at which the high-frequency content of the resonant sound will be cut (BYPASS: no cut)

Frequency at which the low-frequency content of the resonant sound will be cut (BYPASS: no cut)

This simulates the actual changes in sound that occur when the lid of a grand piano is set at dierent heights.

Width of midrange (larger values make the region narrower)

Frequency of the high-range EQ

L out

77: CHORUS0FLANGER

Balance W

Chorus

Balance W

Parameter Value Explanation

Chorus Pre Delay 0.0–100[msec]

Chorus Rate # 0.05–10.00[H z], note Modulation frequenc y of the chorus eect

Chorus Depth 0–127 Modulation depth of the chorus eect

Chorus Balance # D100:0W–D0:100W

3

Flanger Pre Delay 0.0–100[msec]

Flanger Rate # 0.05–10.00[Hz], note Modulation frequency of the anger eect

Flanger Depth 0–127 Modulation depth of the anger eect

Flanger Feedback # -98–+98[%]

Flanger Balance # D100:0W–D0:100W

Level 0–127 Output level

Feedback

Flanger

Adjusts the delay time from the direct sound until the chorus sound is heard.

Volume balance between the direct sound (D) and the chorus sound (W)

Adjusts the delay time from when the direct sound begins until the anger sound is heard.

Adjusts the proportion of the anger sound that is fed back into the eect. Negative (-) settings will invert the phase.

Adjusts the volume balance between the sound that is sent through the anger (W) and the sound that is not sent through the anger (D).

79: Di VOCODER

MIC

Mic Sens

L in

Vocoder

Synth Level

Parameter Value Explanation

Mic Sens # 0–127 Input sensitivit y of the microphone

Synth Level # 0–127 Input level of the instrument

Mic Mix # 0–127

3

Level 0–127 Volume level after passing through the vocoder

Level

Amount of microphone audio added to the output of the vocoder

L out

80: BIT CRUSHER

This creates a lo- sound.

Bit Crusher

Parameter Value Explanation

Sample Rate # 0–127 Adjusts the sample rate.

3

Bit Down # 0–20 Adjusts the bit depth.

Filter # 0–127 Adjusts the lter depth.

Level 0–127 Output level

L out

57

MFX/Chorus/Reverb Parameters

Chorus Parameters

Parameter Explanation

01: CHORUS

Filter Type

Cuto Freq

Pre Delay

Rate

Depth

Phase

Feedback

02: DELAY

Delay Left, Right, Center

Center Feedback

HF Damp

Left, Right, Center Level

03: GM2 CHORUS

Pre-LPF

Level

Feedback

Rate

Depth

Send Level To Rev

Type of lter

OFF No lter is used

LPF Cuts the frequency range above the Cuto Freq

HPF Cuts the frequency range below the Cuto Freq

Basic frequency of the lter

200–8000[Hz]

Adjusts the delay time from the direct sound until the chorus sound is heard.

0.0–100.0[msec]

Frequency of modulation

0.05–10.00Hz, note

Depth of modulation

0–127

Spatial spread of the sound

0–180[deg]

Adjusts the amount of the chorus sound that is fed back into the eect.

0–127

Adjusts the delay time from the direct sound until the delay sound is heard.

0–1000ms, note

Adjusts the proportion of the delay sound that is fed back into the eect. Negative (-) settings will invert the phase.

-98–+98[%]

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

200–8000[Hz], BYPASS

Volume of each delay sound

0–127

Cuts the high frequency range of the sound coming into the chorus.

0–7

Volume of the chorus sound

0–127

Adjusts the amount of the chorus sound that is fed back into the eect.

0–127

Frequency of modulation

0–127

Depth of modulation

0–127

Adjusts the amount of chorus sound that will be sent to the reverb.

0–127

Reverb Parameters

Parameter Explanation

01: REVERB

Type

Time

HF Damp

Delay Feedback

02: SRV ROOM / 03: SRV HALL / 04: SRV PLATE

Pre Delay

Time

Size

High Cut

Density

Diusion

LF Damp Freq

LF Damp Gain

HF Damp Freq

HF Damp Gain

05: GM2 REVERB

Character

Pre-LPF

Level

Time

Delay Feedback

Type of reverb/delay

ROOM1 Short reverb with high density

ROOM2 Short reverb with low density

STAGE1 Reverb with greater late reverberation

STAGE2 Reverb with strong early reections

HALL1 Very clear-sounding reverb

HALL2 Rich reverb

DELAY Conventional delay eect

PAN-DELAY Delay eect with echoes that pan left and right

Time length of reverberation (Type: ROOM1–HALL2) Delay time (Type: DELAY, PAN-DELAY)

0–127

Adjusts the frequency above which the high-frequency content of the reverb sound will be cut, or “damped.” If you do not want to cut the high frequencies, set this parameter to BYPASS.

200–8000[Hz], BYPASS

Adjusts the amount of delay feedback when the Type setting is DELAY or PAN-DELAY. Amount of delay sound returned to the input (this setting is valid only if Type is DELAY or PAN-DELAY)

0–127

Adjusts the delay time from the direct sound until the reverb sound is heard.

0.0–100.0[msec]

Time length of reverberation

0–127

Size of the simulated room or hall

1–8

Adjusts the frequency above which the high-frequency content of the reverb will be reduced. If you do not want to reduce the high frequencies, set this parameter to BYPASS.

160–12500[Hz], BYPASS

Density of reverb

0–127

Adjusts the change in the density of the reverb over time. The higher the value, the more the density increases with time. (The eect of this setting is most pronounced with long reverb times.)

0–127

Adjusts the frequency below which the low-frequency content of the reverb sound will be reduced, or “damped.”

50–4000[Hz]

Adjusts the amount of damping applied to the frequency range selected with LF Damp. With a setting of “0,” there will be no reduction of the reverb’s low-frequency content.

-36–0[dB]

Adjusts the frequency above which the high-frequency content of the reverb sound will be reduced, or “damped.”

4000–12500[Hz]

Adjusts the amount of damping applied to the frequency range selected with HF Damp. With a setting of “0,” there will be no reduction of the reverb’s high-frequency content.

-36–0[dB]

Type of reverb

0–5 Reverb

6, 7 Delay

Cuts the high frequency range of the sound coming into the reverb.

0–7

Output level of reverberation

0–127

Time length of reverberation

0–127

Adjusts the amount of the delay sound that is fed back into the eect when the Reverb Character setting is 6 or 7.

0–127

58

Waveform List

INTA

No. Name

0001 Ult.P*mp A L

0002 Ult.P*mp A R

0003 Ult.P*mp A M

0004 Ult.P*mp B L

0005 Ult.P*mp B R

0006 Ult.P*mp B M

0007 Ult.P*mp C L

0008 Ult.P*mp C R

0009 Ult.P*mp C M

0010 Ult.P* A L

0011 Ult.P* A R

0012 Ult.P* A M

0013 Ult.P* B L

0014 Ult.P* B R

0015 Ult.P* B M

0016 Ult.P* C L

0017 Ult.P* C R

0018 Ult.P* C M

0019 Ult.P mp A L

0020 Ult.P mp A R

0021 Ult.P mp A M

0022 Ult.P mp B L

0023 Ult.P mp B R

0024 Ult.P mp B M

0025 Ult.P mp C L

0026 Ult.P mp C R

0027 Ult.P mp C M

0028 Ult.P  A L

0029 Ult.P  A R

0030 Ult.P  A M

0031 Ult.P  B L

0032 Ult.P  B R

0033 Ult.P  B M

0034 Ult.P  C L

0035 Ult.P  C R

0036 Ult.P  C M

0037 XPr.P*mp A L

0038 XPr.P*mp A R

0039 XPr.P*mp A M

0040 XPr.P*mp B L

0041 XPr.P*mp B R

0042 XPr.P*mp B M

0043 XPr.P*mp C L

0044 XPr.P*mp C R

0045 XPr.P*mp C M

0046 XPr.P* A L

0047 XPr.P* A R

0048 XPr.P* A M

0049 XPr.P* B L

0050 XPr.P* B R

0051 XPr.P* B M

0052 XPr.P* C L

0053 XPr.P* C R

0054 XPr.P* C M

0055 XPr.P mp A L

0056 XPr.P mp A R

0057 XPr.P mp A M

0058 XPr.P mp B L

0059 XPr.P mp B R

0060 XPr.P mp B M

0061 XPr.P mp C L

0062 XPr.P mp C R

0063 XPr.P mp C M

0064 XPr.P  A L

0065 XPr.P  A R

0066 XPr.P  A M

0067 XPr.P  B L

0068 XPr.P  B R

0069 XPr.P  B M

0070 XPr.P  C L

0071 XPr.P  C R

0072 XPr.P  C M

0073 HM-Pno* A L

0074 HM-Pno* A R

0075 HM-Pno* A M

0076 HM-Pno* B L

0077 HM-Pno* B R

0078 HM-Pno* B M

0079 HM-Pno* C L

No. Name

0080 HM-Pno* C R

0081 HM-Pno* C M

0082 HM-Pno A L

0083 HM-Pno A R

0084 HM-Pno A M

0085 HM-Pno B L

0086 HM-Pno B R

0087 HM-Pno B M

0088 HM-Pno C L

0089 HM-Pno C R

0090 HM-Pno C M

0091 HM-Pno L+

0092 HM-Pno R+

0093 JD Piano 1 A

0094 JD Piano 1 B

0095 JD Piano 1 C

0096 Piano Atk Nz

0097 MKS Piano1 A

0098 MKS Piano1 B

0099 MKS Piano1 C

0100 Vint.EP mp A

0101 Vint.EP mp B

0102 Vint.EP mp C

0103 Vint.EP f A

0104 Vint.EP f B

0105 Vint.EP f C

0106 Vint.EP  A

0107 Vint.EP  B

0108 Vint.EP  C

0109 Stage EP p A

0110 Stage EP p B

0111 Stage EP p C

0112 Stage EP f A

0113 Stage EP f B

0114 Stage EP f C

0115 Tine EP p A

0116 Tine EP p B

0117 Tine EP p C

0118 Tine EP mf A

0119 Tine EP mf B

0120 Tine EP mf C

0121 Tine EP  A

0122 Tine EP  B

0123 Tine EP  C

0124 Dyno EP mp A

0125 Dyno EP mp B

0126 Dyno EP mp C

0127 Dyno EP mf A

0128 Dyno EP mf B

0129 Dyno EP mf C

0130 Wurly DI p A

0131 Wurly DI p B

0132 Wurly DI p C

0133 Wurly DI f A

0134 Wurly DI f B

0135 Wurly DI f C

0136 Wurly DI A

0137 Wurly DI B

0138 Wurly DI C

0139 Sof t SA EP A

0140 Sof t SA EP B

0141 Sof t SA EP C

0142 Hard SA EP A

0143 Hard SA EP B

0144 Hard SA EP C

0145 SA E.Piano A

0146 SA E.Piano B

0147 SA E.Piano C

0148 80's E.Pno 1

0149 80's E.Pno 2

0150 80's E.Pno 3

0151 80's E.Pno 4

0152 Hard E.Pno

0153 Celesta

0154 Music Box

0155 ClavDB Brt A

0156 ClavDB Brt B

0157 ClavDB Brt C

0158 Reg.Clav A

No. Name

0159 Reg.Clav B

0160 Reg.Clav C

0161 Retro Clav A

0162 Retro Clav B

0163 Retro Clav C

0164 Tight Clav A

0165 Tight Clav B

0166 Tight Clav C

0167 Hard Clav A

0168 Hard Clav B

0169 Hard Clav C

0170 ClavMtRls DB

0171 Harpsi A

0172 Harpsi B

0173 Harpsi C

0174 JLOrg Slow L

0175 JLOrg Slow R

0176 JLOrg Fast L

0177 JLOrg Fast R

0178 GT Organ

0179 JD Full Draw

0180 Org Basic 1

0181 Org Basic 2

0182 Ballad Org

0183 3rd Perc Org

0184 Perc Organ

0185 RockOrgan1 A

0186 RockOrgan1 B

0187 RockOrgan1 C

0188 Rtr y Org A L

0189 Rtr y Org A R

0190 Rtr y Org B L

0191 Rtr y Org B R

0192 Rtr y Org C L

0193 Rtr y Org C R

0194 LoFi RtryOrg

0195 Vint.Org 1

0196 Vint.Org 2

0197 Vint.Org 3

0198 Vint.Org 4

0199 Positive '8

0200 Pipe Organ 1

0201 Cathedrl Org

0202 Br tNyl.Gtr A

0203 Br tNyl.Gtr B

0204 Br tNyl.Gtr C

0205 Nylon Gtr1 A

0206 Nylon Gtr1 B

0207 Nylon Gtr1 C

0208 Nylon Gtr2 A

0209 Nylon Gtr2 B

0210 Nylon Gtr2 C

0211 Bright Gtr A

0212 Bright Gtr B

0213 Bright Gtr C

0214 Ac.Guitar1 A

0215 Ac.Guitar1 B

0216 Ac.Guitar1 C

0217 Ac.Gtr Hrm1A

0218 Ac.Gtr Hrm1B

0219 Ac.Gtr Hrm1C

0220 Jazz Gtr A

0221 Jazz Gtr B

0222 Jazz Gtr C

0223 Clean Gtr1 A

0224 Clean Gtr1 B

0225 Clean Gtr1 C

0226 Clr Mt Gtr A

0227 Clr Mt Gtr B

0228 Clr Mt Gtr C

0229 E.Gtr Ld

0230 Br t Strat1 A

0231 Br t Strat1 B

0232 Br t Strat1 C

0233 FstPick70s1A

0234 FstPick70s1B

0235 FstPick70s1C

0236 Funk Gtr A

0237 Funk Gtr B

No. Name

0238 Funk Gtr C

0239 Funk MtGtr A

0240 Funk MtGtr B

0241 Funk MtGtr C

0242 Nasty Gtr

0243 Overdrive1 A

0244 Overdrive1 C

0245 Distor tion1A

0246 Distor tion1B

0247 Distor tion1C

0248 Dist Chord A

0249 Dist Chord B

0250 Dist Chord C

0251 E.Gtr Harm

0252 Harp A

0253 Harp B

0254 Harp C

0255 Banjo A

0256 Banjo 1 B

0257 Banjo 1 C

0258 Sitar 1 A

0259 Sitar 1 B

0260 Sitar 1 C

0261 Sitar Drn A

0262 Sitar Drn B

0263 Sitar Drn C

0264 E.Sitar A

0265 E.Sitar 1 B

0266 E.Sitar 1 C

0267 Santur 1 A

0268 Santur 1 B

0269 Santur 1 C

0270 Shamisen A

0271 Shamisen B

0272 Shamisen C

0273 Koto A

0274 Koto B

0275 Koto C

0276 FatAcBs p HA

0277 FatAcBs p HB

0278 FatAcBs p HC

0279 FatAcBs p NA

0280 FatAcBs p NB

0281 FatAcBs p NC

0282 FatAcBs f HA

0283 FatAcBs f HB

0284 FatAcBs f HC

0285 FatAcBs f NA

0286 FatAcBs f NB

0287 FatAcBs f NC

0288 Ac.Bass A

0289 Ac.Bass B

0290 Ac.Bass C

0291 Fng.EB1 mf A

0292 Fng.EB1 mf B

0293 Fng.EB1 mf C

0294 Fng.EB1  A

0295 Fng.EB1  B

0296 Fng.EB1  C

0297 Fng.EB 2 A

0298 Fng.EB 2 B

0299 Fng.EB 2 C

0300 Finger Bs A

0301 Finger Bs B

0302 Finger Bs C

0303 P.Bass

0304 Thumb MtBs A

0305 Thumb MtBs B

0306 Thumb MtBs C

0307 Fretlss Bs A

0308 Fretlss Bs B

0309 Fretlss Bs C

0310 Fretlss SftA

0311 Fretlss SftB

0312 Fretlss SftC

0313 Pick EB 1 A

0314 Pick EB 1 B

0315 Pick EB 1 C

0316 Pick EB 2

No. Name

0317 Slp.E.BassA

0318 Slp.E.BassB

0319 Slp.E.BassC

0320 Pul.E.BassA

0321 Pul.E.BassB

0322 Pul.E.BassC

0323 Jungle Bass

0324 Garage Bass

0325 SH-101 Bs A

0326 SH-101 Bs B

0327 SH-101 Bs C

0328 MG Bass 1 A

0329 MG Bass 1 B

0330 MG Bass 1 C

0331 MG Bass 2

0332 MG Bass 3

0333 MC Bass A

0334 MC Bass B

0335 MC Bass C

0336 Atk Syn Bass

0337 Flute 1 A

0338 Flute 1 B

0339 Flute 1 C

0340 Piccolo A

0341 Piccolo B

0342 Piccolo C

0343 Pan Flute

0344 Shakuhachi 1

0345 JD Fl Push

0346 Clarinet A

0347 Clarinet B

0348 Clarinet C

0349 Oboe A

0350 Oboe B

0351 Oboe C

0352 E.Horn A

0353 E.Horn B

0354 E.Horn C

0355 Bassoon A

0356 Bassoon B

0357 Bassoon C

0358 Recorder A

0359 Recorder B

0360 Recorder C

0361 SopranoSax A

0362 SopranoSax B

0363 SopranoSax C

0364 Sof t Alto A

0365 Sof t Alto B

0366 Sof t Alto C

0367 Wide Sax A

0368 Wide Sax B

0369 Wide Sax C

0370 BreathySax A

0371 BreathySax B

0372 BreathySax C

0373 TenorBreathy

0374 Tenor Sax A

0375 Tenor Sax B

0376 Tenor Sax C

0377 Bari.Sax 1 A

0378 Bari.Sax 1 B

0379 Bari.Sax 1 C

0380 Musette

0381 Harmonica A

0382 Harmonica B

0383 Harmonica C

0384 Blues G-harp

0385 Flugel A

0386 Flugel B

0387 Flugel C

0388 Trumpet 1 A

0389 Trumpet 1 B

0390 Trumpet 1 C

0391 Wide Tp A

0392 Wide Tp B

0393 Wide Tp C

0394 Mute Tp A

0395 Mute Tp B

59

Waveform List

No. Name

0396 Mute Tp C

0397 Trombone 1 A

0398 Trombone 1 B

0399 Trombone 1 C

0400 Trombone 2 A

0401 Trombone 2 B

0402 Trombone 2 C

0403 Tuba A

0404 Tuba B

0405 Tuba C

0406 Sft F.Horn A

0407 Sft F.Horn B

0408 Sft F.Horn C

0409 French Hrn A

0410 French Hrn C

0411 XP Horn A

0412 XP Horn B

0413 F.HornSect A

0414 F.HornSect B

0415 F.HornSect C

0416 Tp Section A

0417 Tp Section B

0418 Tp Section C

0419 OctBrass A L

0420 OctBrass A R

0421 OctBrass B L

0422 OctBrass B R

0423 OctBrass C L

0424 OctBrass C R

0425 XP Brass

0426 OrchUnis A L

0427 OrchUnis A R

0428 OrchUnis1 BL

0429 OrchUnis1 BR

0430 OrchUnis1 CL

0431 OrchUnis1 CR

0432 Violin 1 A

0433 Violin 1 B

0434 Violin 1 C

0435 Cello 1 A

0436 Cello 1 B

0437 Cello 1 C

0438 Vl Sect. A L

0439 Vl Sect. A R

0440 Vl Sect.1 BL

0441 Vl Sect.1 BR

0442 Vl Sect.1 CL

0443 Vl Sect.1 CR

0444 Vc Sect.1 AL

0445 Vc Sect.1 AR

0446 Vc Sect.1 BL

0447 Vc Sect.1 BR

0448 Vc Sect.1 CL

0449 Vc Sect.1 CR

0450 Full Str A L

0451 Full Str A R

0452 Full Str1 BL

0453 Full Str1 BR

0454 Full Str1 CL

0455 Full Str1 CR

0456 JV Strings L

0457 JV Strings R

0458 JV Strings A

0459 JV Strings C

0460 F.Str A L

0461 F.Str A R

0462 F.Str B L

0463 F.Str B R

0464 F.Str C L

0465 F.Str C R

0466 F.Str LpL

0467 F.Str LpR

0468 F.StrStacA L

0469 F.StrStacA R

0470 F.StrStacB L

0471 F.StrStacB R

0472 F.StrStacC L

0473 F.StrStacC R

0474 ChmbrStrAt1A

0475 ChmbrStrAt1B

0476 ChmbrStrAt1C

0477 ChmbrStrRevA

60

No. Name

0478 ChmbrStrRevB

0479 ChmbrStrRevC

0480 Vls Pizz 1 A

0481 Vls Pizz 1 B

0482 Vls Pizz 1 C

0483 VlsPizzRev A

0484 VlsPizzRev B

0485 VlsPizzRev C

0486 Vcs Pizz 1 A

0487 Vcs Pizz 1 B

0488 Vcs Pizz 1 C

0489 UnisonSaw1 A

0490 UnisonSaw1 B

0491 UnisonSaw1 C

0492 Super Saw1 A

0493 Super Saw1 B

0494 Super Saw1 C

0495 TranceSaw1 A

0496 TranceSaw1 B

0497 TranceSaw1 C

0498 Warm Pad A

0499 Warm Pad B

0500 Warm Pad C

0501 OB2 Pad 1 A

0502 OB2 Pad 1 B

0503 OB2 Pad 1 C

0504 OB2 Pad 2 A

0505 OB2 Pad 2 B

0506 OB2 Pad 2 C

0507 D-50 Heavn1A

0508 D-50 Heavn1B

0509 D-50 Heavn1C

0510 SBF Vox A

0511 SBF Vox B

0512 SBF Vox C

0513 Syn Vox 1 A

0514 Syn Vox 1 B

0515 Syn Vox 1 C

0516 Female Ahs A

0517 Female Ahs B

0518 Female Ahs C

0519 Female Oos A

0520 Female Oos B

0521 Female Oos C

0522 Male Aahs A

0523 Male Aahs B

0524 Male Aahs C

0525 Jz Doos 1 A

0526 Jz Doos 1 B

0527 Jz Doos 1 C

0528 JzDoos1 Lp A

0529 JzDoos1 Lp B

0530 JzDoos1 Lp C

0531 Jz Doos 2 A

0532 Jz Doos 2 B

0533 Jz Doos 2 C

0534 Jz Doos 2 lp

0535 JzVoiceDat A

0536 JzVoiceDat B

0537 JzVoiceDat C

0538 Gospel Hum A

0539 Gospel Hum B

0540 Gospel Hum C

0541 Soprano Vox

0542 Kalimba 1

0543 JD Klmba Atk

0544 JD Wood Crak

0545 JD Gamelan 1

0546 JD Gamelan 2

0547 JD Log Drum

0548 JD Xylo

0549 Marimba 1

0550 Vibraphone 1

0551 Glocken

0552 Steel Drums

0553 D50 Bell A

0554 D50 Bell B

0555 D50 Bell C

0556 D50 Bell Lp

0557 Agogo Bell

0558 Finger Bell

0559 Tubular Bell

No. Name

0560 Church Bell

0561 Mild CanWave

0562 JD Cr ystal

0563 Bell Organ

0564 Old DigiBell

0565 JD Bell Wave

0566 TinyBellWave

0567 Vib Wave

0568 JD Br t Digi

0569 Bagpipe

0570 Digital Vox

0571 JD WallyWave

0572 JD Brusky Lp

0573 Bright Form

0574 JD Nasty

0575 JD Spark Vox

0576 JD Cutters

0577 SBF Hrd Ld

0578 JD EML 5th

0579 Juno Saw HD

0580 TB303 Saw HD

0581 Custm Saw HD

0582 MG Saw HD

0583 Real MG Saw

0584 DigitalSawHD

0585 P5 Saw HD

0586 Calc.Saw

0587 Calc.Saw inv

0588 Synth Saw 1

0589 JD Syn Saw

0590 JD Fat Saw

0591 JP-8 Saw

0592 OB2 Saw HD

0593 700 Saw A

0594 700 Saw B

0595 700 Saw C

0596 D-50 S aw

0597 LA-Saw

0598 Air Wave

0599 GR-300 Saw

0600 Juno Sqr HD

0601 P5 Sqr HD

0602 Fat Square

0603 JP-8 Square

0604 SH-2 Square

0605 TB303 Sqr HD

0606 TB Dst Sqr A

0607 TB Dst Sqr B

0608 TB Dst Sqr C

0609 Dist SquareA

0610 Dist SquareB

0611 Dist SquareC

0612 JP8 Pls 10HD

0613 JP8 Pls 15HD

0614 JP8 Pls 25HD

0615 JP8 Pls 30HD

0616 JP8 Pls 40HD

0617 JP8 Pls 45HD

0618 Syn Pulse 1

0619 Syn Pulse 2

0620 700 Triangle

0621 Syn Triangle

0622 JD Triangle

0623 VS-Ramp

0624 Sync Sweep

0625 Sine

0626 JD Fine Wine

0627 Digi Loop

0628 JD MetalWind

0629 Atmosphere

0630 DigiSpectrum

0631 JD Vox Noise

0632 SynVox Noise

0633 Shaku Noise

0634 Digi Breath

0635 Agogo Noise

0636 White Noise

0637 Pink Noise

0638 Aah Formant

0639 Eeh Formant

0640 Iih Formant

0641 Ooh Formant

No. Name

0642 Uuh Formant

0643 Metal Vox W1

0644 Metal Vox W2

0645 Metal Vox L

0646 Metal Vox W3

0647 JD Rattles

0648 Xylo Seq.

0649 JD Anklungs

0650 JD Shami

0651 SynBassClick

0652 JD EP Atk

0653 Key On Click

0654 Org Click 1

0655 Org Click 2

0656 JD Switch

0657 JD Tuba Slap

0658 T VF Trigger

0659 Hi Q 1

0660 Slap 1

0661 Stick 1

0662 Click

0663 Cutting Nz

0664 Ac.Bass Body

0665 Flute Pad Nz

0666 Applause 1

0667 River

0668 Thunder 1

0669 Monsoon

0670 Stream

0671 Bubble

0672 Bird Song

0673 Dog Bark

0674 Gallop

0675 Vint.Phone

0676 Oce Phone

0677 Mobile Phone

0678 Door Creak

0679 Door Slam

0680 Car Engine

0681 Car Slip

0682 Car Pass

0683 Crash Seq.

0684 Gun Shot 1

0685 Siren

0686 Train 1

0687 Airplane

0688 Helicopter 1

0689 Space Voyage

0690 Blow Loop

0691 Laugh

0692 Scream

0693 Punch

0694 Hear tbeat

0695 Footsteps

0696 Machine Gun1

0697 Laser

0698 Thunder Lp

0699 Ac.Bass Nz

0700 E.Bass Nz 1

0701 E.Bass Nz 2

0702 E.Bass Slide

0703 Fng.EB Sld

0704 DistGtr Nz 1

0705 DistGtr Nz 2

0706 Gtr Fret Nz1

0707 Gtr Fret Nz2

0708 ClassicHseHt

0709 Narrow Hit

0710 Dist Hit

0711 Thin Beef

0712 Smear Hit

0713 LoFi Min Hit

0714 Orch. Hit

0715 Punch Hit

0716 O'Skool Hit

0717 Philly Hit

0718 Scratch 1

0719 Scratch 2

0720 Scratch 3

0721 Scratch 4

0722 Scratch Push

0723 Scratch Pull

No. Name

0724 MG Zap 1

0725 MG Zap 2

0726 MG Zap 3

0727 MG Attack

0728 Syn Hrd Atk1

0729 Syn Hrd Atk2

0730 Syn Swt Atk1

0731 Syn Swt Atk2

0732 Syn Swt Atk3

0733 Syn Swt Atk4

0734 SF Kick 1 L

0735 SF Kick 1 R

0736 Reg.Kick L

0737 Reg.Kick R

0738 Jazz Kick

0739 Jz Dr y Kick

0740 TR909 Kick 1

0741 TR909 Kick 2

0742 AnalogKick 1

0743 TR808 Kick

0744 SH32 Kick

0745 SF Snr L

0746 SF Snr R

0747 SF Rim L

0748 SF Rim R

0749 Reg.Snr L

0750 Reg.Snr R

0751 Reg.SnrGst L

0752 Reg.SnrGst R

0753 Sft Snr Gst

0754 Jz Brsh Slap

0755 Jz Brsh Swsh

0756 Swish&Turn

0757 Concert SD 1

0758 Analog Snr 1

0759 TR909 Snr 1

0760 TR909 Snr 2

0761 TR808 Snr 1

0762 TR808 Snr 2

0763 SF Crs Stk L

0764 SF Crs Stk R

0765 Sof t Stick

0766 TR808 Rim

0767 LD L.Tom

0768 LD M.Tom

0769 LD H.Tom

0770 RR F.Tom

0771 SF M.Tom

0772 SF H.Tom

0773 Reg.F.Tom

0774 Reg.M.Tom

0775 Reg.H.Tom

0776 TR808 Tom

0777 Deep Tom

0778 Reg.CHH p

0779 Reg.CHH 

0780 Reg.PHH mf

0781 Reg.PHH f

0782 Reg.OHH 1 mf

0783 Reg.OHH 1 

0784 TR808 CHH 1

0785 Noise CHH

0786 TR808 OHH 1

0787 TR606 OHH

0788 Rock Crash 1

0789 Splash Cym

0790 TR808 Cym

0791 Ride Cymbal

0792 Rock Rd Cup

0793 Rock Rd Edge

0794 China Cym 1

0795 Concert Cym1

0796 Gospel Clap

0797 TR808 Clap 1

0798 TR808 Clap 2

0799 Cowbell 1

0800 TR808Cowbell

0801 Wood Block1H

0802 Wood Block1L

0803 Claves 1

0804 TR808 Claves

0805 Castanet 1

Waveform List

No. Name

0806 Whistle 1

0807 Bongo High

0808 Bongo Low

0809 Conga1 Hi Mt

0810 Conga1 Slap

0811 Conga1 Hi Op

0812 Conga1 LowOp

0813 TR808 Conga1

0814 TR808 Conga2

0815 Timbale High

0816 Timbale Low

0817 Cabasa Cut 1

0818 Maracas 1

0819 808 Maracas1

0820 R8 Shaker

0821 Guiro Short

0822 Guiro Long

0823 Vibraslap 1

0824 Tambourine 1

0825 Cuica Mute

0826 Cuica Open

0827 Timpani p

0828 Timpani f

0829 Timpani Roll

0830 Timpani Lp

0831 ConcertBD p

0832 ConcertBD f

0833 ConcertBD 

0834 ConcertBD Lp

0835 Triangle 1

0836 JingleBell 1

0837 Wind Chime 1

0838 Crotale

0839 R8 Click

0840 Metro Bell

0841 Metro Click

0842 DR202 Beep

0843 Low Sine

0844 DC

0845 Reverse Cym1

0846 MC500 Beep 1

0847 MC500 Beep 2

0848 TB Dst Saw A

0849 TB Dst Saw B

0850 TB Dst Saw C

0851 Ac Piano 1 B

0852 Ac Piano 1 C

0853 Ac Piano2 pA

0854 Ac Piano2 pB

0855 Ac Piano2 pC

0856 Ac Piano2 fA

0857 Ac Piano2 fB

0858 Ac Piano2 fC

0859 Piano Up TH

0860 JD Piano 2 B

0861 JD Piano 2 C

0862 MKS Piano2 B

0863 MKS Piano2 C

0864 SA EP 1B

0865 SA EP 1C

0866 SA EP 2B

0867 SA EP 2C

0868 Dyn EP mp A

0869 Dyn EP mp B

0870 Dyn EP mp C

0871 Wurly mp A

0872 Wurly mp B

0873 Wurly mp C

0874 Wurly mf A

0875 Wurly mf B

0876 Wurly mf C

0877 Wurly  A

0878 Wurly  B

0879 Wurly  C

0880 D-50 EP

0881 E.Piano 1 A

0882 E.Piano 1 B

0883 E.Piano 1 C

0884 E.Piano 2 A

0885 E.Piano 2 B

0886 E.Piano 2 C

0887 EP Hard

No. Name

0888 ClvMtRs DB f

0889 Rtr yOrg2 A L

0890 Rtr yOrg2 A R

0891 Rtr yOrg2 B L

0892 Rtr yOrg2 B R

0893 Rtr yOrg2 C L

0894 Rtr yOrg2 C R

0895 E.Organ Slw

0896 E.Organ Fst

0897 B3 1 FL A

0898 B3 1 FL B

0899 B3 1 FL C

0900 B3 2 FL A

0901 B3 2 FL B

0902 B3 2 FL C

0903 B3 Perc 1 A

0904 B3 Perc 1 B

0905 B3 Perc 1 C

0906 B3 3 A

0907 B3 3 B

0908 B3 3 C

0909 B3 Perc 2 A

0910 B3 Perc 2 B

0911 B3 Perc 3 C

0912 B3 1 Ch A

0913 B3 1 Ch B

0914 B3 1 Ch C

0915 RockOrgan2 B

0916 Power B fstA

0917 Power B fstB

0918 Power B fstC

0919 B3 Click

0920 Org Click 3

0921 Vint.Organ

0922 Pipe Organ 2

0923 Nylon Gtr 3A

0924 Nylon Gtr 3B

0925 Nylon Gtr 3C

0926 RequintGt mf

0927 AcGtr Pick A

0928 AcGtr Pick B

0929 AcGtr Pick C

0930 Ac.Guitar2 A

0931 Ac.Guitar2 B

0932 Ac.Guitar2 C

0933 JC Strat Nz

0934 Str t Gtr

0935 FstPick70s

0936 Clean TC pA

0937 ClnGtr Mt Nz

0938 PdlSteel A

0939 PdlSteel B

0940 PdlSteel C

0941 Oud A

0942 Oud B

0943 Oud C

0944 Oud

0945 Pipa mp 1

0946 Pipa mp 2

0947 Pipa Trem

0948 Pipa Chord

0949 Pi Pa A

0950 Pi Pa B

0951 Pi Pa C

0952 Chung Ruan A

0953 Chung Ruan B

0954 Chung Ruan C

0955 Dumbra mp

0956 Dumbra Strum

0957 UD

0958 UD Body

0959 Baglama L

0960 Baglama H

0961 Elk Baglama

0962 Kanun

0963 Sitar/Drone

0964 Sitar 2 A

0965 Sitar 2 C

0966 Sitar 3 A

0967 Sitar 3 C

0968 Sitar 4 A

0969 Sitar 4 B

No. Name

0970 Sitar 4 C

0971 XV Sitar A

0972 XV Sitar C

0973 Sitar Gliss

0974 Guzheng f

0975 Guzheng Trem

0976 Gu Zheng A

0977 Gu Zheng B

0978 Gu Zheng C

0979 Santur 2 B

0980 Santur 2 C

0981 Santur 3 A

0982 Santur 3 B

0983 Santur 3 C

0984 Santur 4 A

0985 Santur 4 B

0986 Santur 4 C

0987 Santur Trm A

0988 Santur Trm B

0989 Santur Trm C

0990 HmrDulcimer

0991 Dulcimer A

0992 Dulcimer B

0993 Dulcimer C

0994 Yangqin

0995 Yangqin 1 mf

0996 Yangqin1Trem

0997 Oygur f

0998 Oygur Trem

0999 Upright Bs

1000 Fingerd Bs A

1001 Fingerd Bs B

1002 Fingerd Bs C

1003 Fretless

1004 Slap Bass

1005 SlapBs Wave1

1006 SlapBs Wave2

1007 JUNO-60 Bass

1008 JP-4 Bass

1009 SH-101 Bs

1010 KG Poly Bs

1011 Solid Bass

1012 Mini Bs A

1013 Mini Bs B

1014 Mini Bs C

1015 Flute Vib A

1016 Flute Vib B

1017 Flute Vib C

1018 Flute 2 B

1019 Flute 2 C

1020 Atk Flute A

1021 Atk Flute B

1022 Atk Flute C

1023 BlwAltoVibPL

1024 BlwAltoVibPR

1025 BlwAltoVibFL

1026 BlwAltoVibFR

1027 Alto Sax Vib

1028 Alto mp B

1029 Alto mp C

1030 Blow Sax

1031 Blow Sax A

1032 Blow Sax C

1033 Blowed Sax

1034 T.Sax hrd

1035 T.Sax hrd A

1036 T.Sax hrd B

1037 T.Sax hrd C

1038 Blow Pipe

1039 Sicu 1

1040 Sicu 2

1041 BottleBlow

1042 Shakuhachi 2

1043 FolkClaVibFL

1044 FolkClaVibFR

1045 FolkClaMarcL

1046 FolkClaMarcR

1047 Tr Klarnet

1048 Qudi mp 1

1049 Qudi Orna 1

1050 Qu Di A

1051 Qu Di B

No. Name

1052 Qu Di C

1053 QuDi 1 Vib A

1054 QuDi 1 Vib B

1055 QuDi 1 Vib C

1056 QuDi 2 Vib A

1057 QuDi 2 Vib B

1058 QuDi 2 Vib C

1059 Xiao 1 f

1060 Xiao Trill

1061 Bawu f

1062 BawuVibFingr

1063 Bawu Trill

1064 Xun mp

1065 Xun Orna

1066 Hulusi 1 mf

1067 Sheng A

1068 Sheng B

1069 Sheng C

1070 Suona 1 A

1071 Suona 1 B

1072 Suona 1 C

1073 Suona 2 mf

1074 Suona 2 

1075 Suona 2 Gr wl

1076 Zurna-A

1077 F.AccordionA

1078 F.AccordionB

1079 F.AccordionC

1080 D.AccordionA

1081 D.AccordionB

1082 D.AccordionC

1083 ACD Bltn R8

1084 ACD Bltn R8s

1085 ACD Bltn R16

1086 ACD Bltn R4

1087 ACD Str R8

1088 ACD Str Nz

1089 ACD Str R8s

1090 Accord 4' A

1091 Accord 4' B

1092 Accord 4' C

1093 Accord 8' A

1094 Accord 8' B

1095 Accord 8' C

1096 Accord PadNz

1097 Musette 1 A

1098 Musette 1 B

1099 Musette 1 C

1100 Musette 2 A

1101 Musette 2 B

1102 Musette 2 C

1103 Musette 3 A

1104 Musette 3 B

1105 Musette 3 C

1106 Master A

1107 Master B

1108 Master C

1109 Single A

1110 Single B

1111 Single C

1112 Bandoneon 1A

1113 Bandoneon 1B

1114 Bandoneon 1C

1115 Bandoneon 2A

1116 Bandoneon 2B

1117 Bandoneon 2C

1118 Bs/Musette 1

1119 Bs/Musette 2

1120 Bs/Musette 3

1121 Bs/Master

1122 Bs/Single

1123 Bs/Bandneon1

1124 Bs/Bandneon2

1125 Bandneon RHL

1126 Bandneon RHR

1127 Bandneon Nz

1128 Solo Tpt. A

1129 Solo Tpt. B

1130 Solo Tpt. C

1131 Trumpet 2 B

1132 Trumpet 2 C

1133 Tp_Mari Vb

No. Name

1134 TpRomntic vb

1135 TrumpetShake

1136 Trombone 3 A

1137 Trombone 3 B

1138 Trombone 3 C

1139 Tbn mf A

1140 Tbn mf B

1141 Tbn mf C

1142 Trombone 4

1143 Tp Section2B

1144 Tp Section2C

1145 Brass 

1146 R&R Horns A

1147 R&R Horns B

1148 R&R Horns C

1149 PopBrsAtkA L

1150 PopBrsAtkA R

1151 PopBrsAtkB L

1152 PopBrsAtkB R

1153 PopBrsAtkC L

1154 PopBrsAtkC R

1155 PopBrass A L

1156 PopBrass A R

1157 PopBrass B L

1158 PopBrass B R

1159 PopBrass C L

1160 PopBrass C R

1161 OctBrs p A L

1162 OctBrs p A R

1163 OctBrs p B L

1164 OctBrs p B R

1165 OctBrs p C L

1166 OctBrs p C R

1167 Brass Fall L

1168 Brass Fall R

1169 Tps Fall

1170 Brass Fall

1171 Violin 2 A

1172 Violin 2 B

1173 Strings L

1174 Strings R

1175 Marcato A L

1176 Marcato A R

1177 Marcato B L

1178 Marcato B R

1179 Marcato C L

1180 Marcato C R

1181 OrcStrings A

1182 OrcStrings B

1183 OrcStrings C

1184 Erhu 1 Vib

1185 Erhu 1 mp

1186 Erhu 2 mp

1187 Erhu 2 f

1188 Er Hu 3 A

1189 Er Hu 3 B

1190 Er Hu 3 C

1191 Matouqin1 mp

1192 Matouqin1Vib

1193 Matoqn Harm

1194 MatoqnSldVib

1195 Keman L

1196 Keman R

1197 Blaster A

1198 Blaster B

1199 Blaster C

1200 UnisonSaw2 A

1201 UnisonSaw2 B

1202 UnisonSaw2 C

1203 Super Saw2 A

1204 Super Saw2 B

1205 Super Saw2 C

1206 TranceSaw2 A

1207 TranceSaw2 B

1208 TranceSaw2 C

1209 Fat JP-6

1210 SBF Noise

1211 P5 Sink

1212 Synth Stack

1213 Sof t Pad B

1214 Sof t Pad C

1215 Syn Str

61

Waveform List

No. Name

1216 JP Strings1A

1217 JP Strings1B

1218 JP Strings1C

1219 JP StringsU2

1220 Syn Strings

1221 JP Hollo A

1222 JP Hollo B

1223 JP Hollo C

1224 Hollo Wave

1225 Fantasynth A

1226 Fantasynth B

1227 Fantasynth C

1228 D-50 Heavn2A

1229 D-50 Heavn2B

1230 D-50 Heavn3A

1231 D-50 Heavn3B

1232 D-50 Heavn3C

1233 D50 Fantas 1

1234 D50 Fantas 2

1235 D50FuturePd1

1236 D50FuturePd2

1237 D50 DNDance1

1238 D50 DNDance2

1239 D50 DNDance3

1240 D50 DNDance4

1241 D50Pizzagogo

1242 D50 StacHvn

1243 D50NylnAtms1

1244 D50NylnAtms2

1245 Syn Vox 2

1246 Syn Vox 3 A

1247 Syn Vox 3 B

1248 Syn Vox 3 C

1249 Vox Noise

1250 Syn Vox 4

1251 MMM VOX

1252 Choir Aah A

1253 Choir Aah B

1254 Choir Aah C

1255 Choir Mmh A

1256 Choir Mmh B

1257 Choir Mmh C

1258 Pop Voice

1259 Voice Aahs A

1260 Voice Aahs B

1261 Voice Aahs C

1262 LargeChrF AL

1263 LargeChrF AR

1264 LargeChrF BL

1265 LargeChrF BR

1266 LargeChrF CL

1267 LargeChrF CR

1268 Hey Brazil

1269 Sabor!

1270 Arriba!

1271 Ole!

1272 Uno!

1273 Dos!

1274 Tres!

1275 Quatro!

1276 Grito-Hahaha

1277 Grito-Ahaha!

1278 Grito-Haahai

1279 Grito-R rrrr!

1280 Tiquitito!

1281 Grito- Oa Oa!

1282 Grito-Eh Eh!

1283 Ama ya ahi!

1284 Fuego!

1285 One

1286 Tw o

1287 Three

1288 ZaghrutaLoop

1289 ZaghrutaStop

1290 Vibes

1291 Vibraphone 2

1292 Glockenspiel

1293 Marimba Wave

1294 Marimba 2

1295 Kalimba 2

1296 Balaphone 1

1297 Balaphone 2

62

No. Name

1298 Angklung

1299 Bonang

1300 Pemade A

1301 Pemade B

1302 Pemade C

1303 DIGI Bell

1304 JP-8 Saw C

1305 JP-6 Saw

1306 P5 Saw 1 A

1307 P5 Saw 2 A

1308 P5 Saw 3 A

1309 P5 Saw 3 B

1310 P5 Saw 3 C

1311 MG Saw

1312 Saw

1313 Synth Saw 2

1314 TB Dst Saw

1315 Juno Saw+Sub

1316 MG Sqr HD

1317 TB303 SqrFHD

1318 TB Dst Sqr

1319 TB Square

1320 260 Sub OSC

1321 VS-Triangle

1322 ARP Sine HD

1323 JP-8 Pulse

1324 MG Pulse A

1325 JP8 Pls 30

1326 PWM Wave A

1327 PWM Wave B

1328 PWM Wave C

1329 PWM Wave

1330 Lead Wave 1

1331 Lead Wave 2

1332 Wire String

1333 Hard 5ths A

1334 Hard 5ths B

1335 Hard 5ths C

1336 Cold Dress

1337 FX Bomb

1338 FX Bell 1 fw

1339 FX Bell 2 fw

1340 Hi Q 2

1341 Slap 2

1342 Stick 2

1343 Applause 2

1344 Applause 3

1345 Applause 4

1346 Sea

1347 Thunder 2

1348 Bird

1349 Horse

1350 Gun Shot 2

1351 Train 2

1352 Helicopter 2

1353 Machine Gun2

1354 Tao Hit

1355 S Push

1356 S Pull

1357 HM-Dummy

1358 PopKickLo

1359 PopKickMd

1360 PopKickHi

1361 Warm Kick p

1362 Warm Kick f

1363 Hush Kick p

1364 Hush Kick f

1365 Jz Kick 1

1366 Jz Kick 2

1367 Fat BD

1368 Room Kick

1369 Techno BD1

1370 909 CompKick

1371 HipHop BD

1372 707 BD

1373 TightSnr p L

1374 TightSnr f L

1375 T.Snr Ghst L

1376 TightSnr L

1377 T.Snr RS p L

1378 Br.Snr p L

1379 Br.Snr mf L

No. Name

1380 Br.Snr  L

1381 IronSnrFlm L

1382 WoodSnr mf L

1383 WoodSnr  L

1384 Maple Lo Snr

1385 MapleSof t SN

1386 PopSnr Gst 1

1387 PopSnr Gst 2

1388 PopSnr Gst 3

1389 Jz Snare 1

1390 Jz Snare 2

1391 Jz Snare 3

1392 PopSnr Lo_L

1393 PopSnr Md_L

1394 PopSnr VH_L

1395 PopSnr Lo_R

1396 PopSnr Md_R

1397 PopSnr VH_R

1398 PopSnr Ph

1399 PopSnr ShRl

1400 Fish Snare

1401 Hibrid Snare

1402 Cross Snare

1403 Rim Shot 1

1404 Real Snare

1405 Std Snare

1406 Sol Snare

1407 Id Snare 1

1408 Id Snare 2

1409 Rock Snare

1410 GS Fat SD

1411 Rim Shot 2

1412 Rap Snare

1413 Dance Snare

1414 TR909 Snr 3

1415 IronSnrGst L

1416 Concert SD 2

1417 Snare Roll

1418 Cross Stick

1419 Br.SideStk L

1420 WoodSideStkL

1421 707 Rim

1422 StudioLo Tom

1423 StudioMidTom

1424 StudioHi Tom

1425 Jz Tom Lo

1426 Jz Tom Md 1

1427 Jz Tom Md 2

1428 Jz Tom Hi 1

1429 Jz Tom Hi 2

1430 PopFrTmLoRC

1431 PopFrTmMdRC

1432 PopFrTmHiRC

1433 Stdio T4 sft

1434 Stdio T4 med

1435 Stdio T4 hrd

1436 Stdio T3 sft

1437 Stdio T3 med

1438 Stdio T3 hrd

1439 Stdio T2 sft

1440 Stdio T2 med

1441 Stdio T2 hrd

1442 Stdio T1 sft

1443 Stdio T1 med

1444 Stdio T1 hrd

1445 PopTom1LoRC

1446 PopTom1MdRC

1447 PopTom1HiRC

1448 PopTom2LoRC

1449 PopTom2MdRC

1450 PopTom2HiRC

1451 PopFrTmFlLo

1452 PopFrTmFlMd

1453 PopFrTmFlHi

1454 RkTom1Lo_Fl

1455 RkTom1Md_Fl

1456 RkTom1Hi_Fl

1457 RkTom1VH_Fl

1458 RkTom2Lo_Fl

1459 RkTom2Md_Fl

1460 RkTom2Hi_Fl

1461 RkTom2VH_Fl

No. Name

1462 Reg.CHH 1 p

1463 Reg.CHH 1 mf

1464 Reg.CHH 1 f

1465 Reg.CHH 1 

1466 Reg.CHH 2 mf

1467 Reg.CHH 2 f

1468 Reg.CHH 2 

1469 Reg.OHH 2 mf

1470 Reg.OHH 2 f

1471 PopHHUPLo

1472 PopHHUPMd

1473 PopHHUPHi

1474 PopHHSideLo

1475 PopHHSideMd

1476 PopHHSideHi

1477 PopHHSideOp

1478 PHHSdOpLg

1479 707 CHH

1480 Dixie HH Pdl

1481 Dixie HH Cls

1482 Dixie HH Hlf

1483 Dixie HH Opn

1484 Crash Cym1 p

1485 Crash Cym1 f

1486 Crash Cym 2

1487 Rock Crash 2

1488 PopCrashLo

1489 PopCrashMd

1490 PopCrashHi

1491 RkCrash1Lo

1492 RkCrash1Md

1493 RkCrash1Hi

1494 RkCrash2Lo

1495 RkCrash2Md

1496 RkCrash2Hi

1497 China Cym 2

1498 RkSplashLo

1499 RkSplashMd

1500 RkSplashHi

1501 Splash

1502 PopRide BlLo

1503 PopRide BlMd

1504 PopRide BlHi

1505 PopRideLo

1506 PopRideMd

1507 PopRideHi

1508 RkR ide1Lo

1509 RkR ide1Hi

1510 Concert Cym2

1511 808 Clps

1512 Hand Clap 1

1513 TR-909 HC

1514 Hand Clap 2

1515 OR Clap 1

1516 OR Clap 2

1517 FingerSnaps1

1518 FingerSnaps2

1519 Cowbell Lng

1520 Cowbell Edg

1521 Cowbell mf

1522 Cowbell f

1523 Cowbell 2

1524 Cowbell 3

1525 Cowbell 4

1526 Cowbell Op 1

1527 Cowbell Mt 1

1528 Cowbell Op 2

1529 Cowbell Mt 2

1530 BongoBell Op

1531 BongoBell Mt

1532 MamboBell Op

1533 MamboBell Mt

1534 Cowbell Low

1535 Cowbell Hi

1536 Cow Bell

1537 808 Cows

1538 Wood Block2H

1539 Wood Block2L

1540 Wood Block 3

1541 Claves 2

1542 Clave!

1543 Claves Lo

No. Name

1544 Claves 3

1545 Ban Gu 1

1546 Ban Gu 2

1547 Castanet 2

1548 Whistle Long

1549 Whistle Shrt

1550 ApitoHiShort

1551 ApitoLoShort

1552 SambaWhistle

1553 Whistle 2

1554 ID Whistle 1

1555 ID Whistle 2

1556 ID Whistle 3

1557 Shankh

1558 Bongo HM

1559 Bongo LM 1

1560 Bongo LM 2

1561 Bongo Hi H rd

1562 Bongo HiOp f

1563 BongoHiSlap1

1564 BongoHiSlap2

1565 Bongo 1 Hi

1566 Bongo 2 Hi

1567 Bongo 1 Lo

1568 Bongo 2 Lo

1569 Bongo Lo Hrd

1570 Bongo Lo Sft

1571 Bongo LoOpmf

1572 Bongo LoOp f

1573 Bongo LoSlap

1574 Bongo slide

1575 Conga 2H Op

1576 Conga 2H Mt

1577 Conga 2H Slp

1578 Conga 2L Op

1579 Conga 2L Mt

1580 Conga Mt Lo

1581 Conga Thumb

1582 Conga Link

1583 Conga Roll

1584 Conga HM

1585 Conga 1H Mt

1586 Conga M

1587 Conga 1L Mt

1588 Conga LM

1589 Conga 1 Slap

1590 Conga 1H Op

1591 CongaLoOp f

1592 CongaLoOp mf

1593 Timbales L

1594 Timbales H

1595 Timbale 1

1596 Timbale 2

1597 Timbale 3 Lo

1598 Timbale 3 Hi

1599 Timbale 3 Sd

1600 Timbles LoOp

1601 Timbles LoMt

1602 Timbles HiOp

1603 Timbles HiMt

1604 TimbalesHand

1605 Timbales Rim

1606 TmbSideStick

1607 TimbalesFil1

1608 TimbalesFil2

1609 TimbalesFil3

1610 TimbalesFil4

1611 SambaBateria

1612 Cabasa Down1

1613 Cabasa Down2

1614 Cabasa Up 1

1615 Cabasa Up 2

1616 Real Cabasa1

1617 Real Cabasa2

1618 Cabasa

1619 Cabasa Cut 2

1620 Maracas 2

1621 Maracas 3

1622 Maracas3UpDw

1623 Shaker 1

1624 Shaker 2

1625 Shaker 3

Waveform List

No. Name

1626 Shaker 4

1627 Shaker Long

1628 Shaker Short

1629 Cabasa Roll

1630 Caxixi

1631 Ganza Sof t

1632 Ganza Hard

1633 808 Maracas2

1634 808 Maracas3

1635 Chekere 1

1636 Chekere 2

1637 Chekere 3

1638 Guiro 2 Long

1639 Guiro 2 Shrt

1640 Quide Long

1641 Quide Shor t

1642 Guiro 3 Long

1643 Guiro 3 Shrt

1644 Long Guiro

1645 Shor t Guiro

1646 Guiro 4 Up

1647 Guiro 4 Down

1648 Guiro 4 Fast

1649 RecoRecoLng

1650 RecoRecoSht

1651 MtlGuiroLng

1652 MtlGuiroSht

1653 Vibraslap 2

1654 Vibraslap 3

1655 Quijada

1656 Rainstick

1657 Tambarin 1

1658 Tambarin 2

1659 Tambarin 3

1660 Tamborine p

1661 Tamborine f

1662 PandeiroCrsh

1663 PandeiroHit

1664 PandeiroMute

1665 PandeiroL Lo

1666 PandeiroL Hi

1667 PandeiroL Sp

1668 PandeiroL Rm

1669 PandeiroS Op

1670 PandeiroS Sp

1671 PandeiroS Rm

1672 PandeiroOpen

1673 PandeiroRim

1674 PandeiroRoll

1675 Tamborim Opn

1676 Tamborim Mut

1677 Tamborim Slp

1678 TamborimOpen

1679 TamborimRim

1680 TamborimMute

1681 TamborimRoll

1682 Tambrin Hit

1683 TambrinShake

1684 Riq Open

1685 Riq Mute

1686 Rek Open

1687 Rek Dom

1688 Rek Tek

1689 Rek BRS

1690 Rek ROL

1691 Rek KNA

1692 Rek KNB

1693 Doira Dun

1694 Doira Tik

1695 Tabla Baya 2

1696 Tabla Baya 3

1697 TablaBaya Ka

1698 TablaBaya Ge

1699 Tabla Baya 1

1700 TablaBayaSld

1701 Baya Sld

1702 Baya Long

1703 TablaBayaGin

1704 TablaBaya Na

1705 TablaBayaTin

1706 TablaBayaTun

1707 TablaBaya Ti

No. Name

1708 TablaBaya Te

1709 Tabla Baya 4

1710 Tbl Tak

1711 Tbl Dom

1712 Tabla Fx

1713 Tbl Sak

1714 Tbl Rim

1715 Tbl NurRim

1716 Du Dish

1717 Du T

1718 Ceng Ceng 1

1719 Udu Pot1 Hi

1720 Udu Pot1 Lo

1721 Udu Pot2 Lng

1722 Udu Pot2 Sht

1723 Udo Low

1724 Udo Slap

1725 Cajon

1726 Cajon Lo

1727 Cajon Hi

1728 Cajon Rol Hi

1729 Cajon Rol Lo

1730 Cuica 1 Hi

1731 Cuica 1 Low

1732 Cuica 2

1733 Cuica Lo 1

1734 Cuica Lo 2

1735 Cuica Hi 1

1736 Cuica Hi 2

1737 Mute Cuica

1738 Open Cuica

1739 Wadon 1

1740 Wadon 2

1741 Wadon 3

1742 Wadon 4

1743 Wadon 5

1744 Wadon 6

1745 Wadon 7

1746 Madal Da

1747 Madal Dun

1748 Madal Ta

1749 Dhol Beater

1750 Dhol Stick

1751 Dhol Hand

1752 Dhol Body

1753 Dhol 1

1754 Dhol 2

1755 Doholla Dom

1756 Doholla Sak

1757 Doholla Tak

1758 Dla Rim

1759 Dla Sak

1760 Dof 2 Dmo

1761 Dof 1 Rim

1762 Dof 1 Dom

1763 Dof 1 Sak

1764 Hager

1765 Zir

1766 Nakrazn

1767 Dholak 1

1768 Dholak 2

1769 Dholak 3

1770 Dholak 4

1771 Dholak 5

1772 Dholak Ga

1773 Dholak 6

1774 Dholak 7

1775 Dholak 8

1776 Dholak Na

1777 Dholak Tun

1778 Tabel H Dom

1779 Tabel H Sak2

1780 Tabel H Sak1

1781 Tabel H Tac

1782 Tabel L Dom

1783 Tabel L Sak1

1784 Tabel L Sak2

1785 Tabel L Tac

1786 Merjaf Dom

1787 Merjaf Tac

1788 Merjaf Sak

1789 Surdo

No. Name

1790 Surdo Open L

1791 Surdo Open H

1792 Surdo Mute 1

1793 Surdo Rim 1

1794 Surdo Hard

1795 Surdo Open 1

1796 Surdo Open 2

1797 Surdo Mute 2

1798 Surdo Rim 2

1799 Surdo Soft

1800 Caixa Open1

1801 Caixa Open2

1802 Caixa Roll

1803 Caixa Mute

1804 Caixa Open3

1805 Caixa Mute2

1806 Caixa Roll 2

1807 Caixa Rim

1808 RepiniqueHrd

1809 RepiniqueSft

1810 Repinique1

1811 Repinique2

1812 Repique Open

1813 Repique Rim

1814 Repique Roll

1815 Timpani

1816 Open Triangl

1817 Triangle 2

1818 Triangle 3

1819 Sagat Mid

1820 Sagat Hi

1821 Sagat Sak

1822 Sagat Open 1

1823 Sagat Close1

1824 Twesat 1

1825 Twesat Prc

1826 Twesat 2

1827 Zil Open

1828 Zil Close

1829 Clapstick

1830 Agogo 1

1831 Agogo 2 Lo

1832 Agogo 2 Hi

1833 Agogo 3 Lo

1834 Agogo 3 Hi

1835 Asian Gong 1

1836 GamelanGong1

1837 Wind Bell 1

1838 Kane 1

1839 JingleBell 2

1840 Wind Chime 2

1841 Sarna Bell

1842 Berimbau Opn

1843 Berimbau Up

1844 Berimbau Dn

1845 Berimbau Mut

1846 180:LatinPtn

1847 160:CgMambo

1848 132:Tmbl Ptn

1849 104:Shakin'

1850 132:AgogoPtn

1851 118:TablaBy1

1852 118:TablaBy2

1853 92:DholakPh1

1854 92:DholakPh2

1855 120:Dhol Ph

1856 Sec tChd 13th

1857 Sec tChd m9

1858 Sec tChd Mj9

1859 MC500 Beep 3

1860 Boing

1861 G-Accord 1 L

1862 G-Accord 1 R

1863 G-Accord 2 L

1864 G-Accord 2 R

1865 G-Accord 3 L

1866 G-Accord 3 R

1867 C-Accord A1L

1868 C-Accord A1R

1869 C-Accord A2L

1870 C-Accord A2R

1871 C-Accord A3L

No. Name

1872 C-Accord A3R

1873 C-Accord N1L

1874 C-Accord N1R

1875 C-Accord N2

1876 E-Accord 1

1877 E-Accord 2

1878 BajoSxt mf

1879 BajoSxt f

1880 BajoSxtMute1

1881 BajoSxtMute2

1882 CharangUp mf

1883 CharangUp f

1884 ChrngOctUpmf

1885 ChrngOctUp f

1886 Guitarrn p

1887 Guitarrn mf

1888 MariTp Vb mf

1889 MariTp Vb f

1890 MariTpVbwAtk

1891 MariTp Stc f

1892 Banda Tp Vib

1893 Banda Tp Stc

1894 Banda TbnVib

1895 Banda TbnStc

1896 Banda Tuba

1897 BandaTubaStc

1898 Banda ClaVib

1899 Banda ClaStc

1900 CharangDw mf

1901 CharangDw f

1902 ChrngOctD wmf

1903 ChrngOctD w f

1904 Ac.Pno p A L

1905 Ac.Pno p A R

1906 Ac.Pno p B L

1907 Ac.Pno p B R

1908 Ac.Pno p C L

1909 Ac.Pno p C R

1910 Ac.Pno f A L

1911 Ac.Pno f A R

1912 Ac.Pno f B L

1913 Ac.Pno f B R

1914 Ac.Pno f C L

1915 Ac.Pno f C R

1916 Dyno EP  A

1917 Dyno EP  B

1918 Dyno EP  C

1919 Rtr yOrg1 A L

1920 Rtr yOrg1 A R

1921 Rtr yOrg1 B L

1922 Rtr yOrg1 B R

1923 Rtr yOrg1 C L

1924 Rtr yOrg1 C R

1925 Nylon Gtr3 B

1926 Ac.Gtr  A

1927 Ac.Gtr  B

1928 Ac.Gtr  C

1929 Ac.Gtr Sld A

1930 Ac.Gtr Sld B

1931 Ac.Gtr Sld C

1932 Ac.Gtr Hrm2B

1933 Clean Gtr2 B

1934 Clean Gtr2 C

1935 Br t Strat2 B

1936 Br t Strat2 C

1937 FstPick70s2B

1938 FstPick70s2C

1939 Overdrive2 C

1940 Distor tion2B

1941 Distor tion2C

1942 Banjo 2 B

1943 Sitar 5 B

1944 Sitar 5 C

1945 E.Sitar 2 B

1946 E.Sitar 2 C

1947 FngrCmp Bs A

1948 FngrCmp Bs B

1949 FngrCmp Bs C

1950 ThumbMtBs pA

1951 ThumbMtBs pB

1952 ThumbMtBs pC

1953 ThumbMtBs fA

No. Name

1954 ThumbMtBs fB

1955 ThumbMtBs fC

1956 DistTB Sqr

1957 Oboe Mezzo A

1958 Oboe Mezzo B

1959 Oboe Mezzo C

1960 Bari.Sax 2 A

1961 Bari.Sax 2 B

1962 Bari.Sax 2 C

1963 OctBrs f A L

1964 OctBrs f A R

1965 OctBrs f B L

1966 OctBrs f B R

1967 OctBrs f C L

1968 OctBrs f C R

1969 OrchUnis2 BL

1970 OrchUnis2 BR

1971 OrchUnis2 CL

1972 OrchUnis2 CR

1973 Violin Vib A

1974 Violin Vib B

1975 Violin Vib C

1976 Cello Vib A

1977 Cello Vib B

1978 Cello Vib C

1979 Cello 2 A

1980 Cello 2 B

1981 Cello 2 C

1982 Vl Sect.2 BL

1983 Vl Sect.2 BR

1984 Vl Sect.2 CL

1985 Vl Sect.2 CR

1986 Vc Sect.2 BL

1987 Vc Sect.2 BR

1988 Vc Sect.2 CL

1989 Vc Sect.2 CR

1990 Full Str2 BL

1991 Full Str2 BR

1992 Full Str2 CL

1993 Full Str2 CR

1994 ChmbrStrAt2B

1995 ChmbrStrAt2C

1996 Vls Pizz 2 B

1997 Vls Pizz 2 C

1998 Vcs Pizz 2 B

1999 Vcs Pizz 2 C

2000 OB2 Pad 3 B

2001 Jazz Doos A

2002 Jazz Doos B

2003 Jazz Doos C

2004 Jz Doos Lp A

2005 Jz Doos Lp B

2006 Jz Doos Lp C

2007 JD Cowbell

2008 Vinyl Noise

2009 Scratch 5

2010 MG Zap 4

2011 MG Zap 5

2012 MG Zap 6

2013 MG Zap 7

2014 MG Zap 8

2015 Syn Hrd Atk3

2016 Syn Mtl Atk1

2017 Syn Mtl Atk2

2018 Syn Swt Atk5

2019 Syn Swt Atk6

2020 Syn Swt Atk7

2021 Reg.Kick p L

2022 Reg.Kick p R

2023 Reg.Kick f L

2024 Reg.Kick f R

2025 Rock Kick p

2026 Rock Kick f

2027 Jazz Kick p

2028 Jazz Kick mf

2029 Jazz Kick f

2030 Dr y Kick 1

2031 Tight Kick

2032 Old Kick

2033 Dr y Kick 2

2034 Dr y Kick 3

2035 Power Kick

63

Waveform List

No. Name

2036 R&B Kick L

2037 Rk CmpKick L

2038 Rk CmpKick R

2039 70's Kick

2040 Dance Kick

2041 HipHop Kick

2042 Plastic Kick

2043 AnalogKick 2

2044 TR909 Kick 3

2045 TR909 Kick 4

2046 TR707 Kick

2047 TR909 Kick 5

2048 Reg.SnrFlm L

2049 Amb.Snr 1 p

2050 Amb.Snr2 p L

2051 Amb.Snr2 p R

2052 Maple Snr

2053 Light Snr 

2054 Snr Roll Lp

2055 Sof t Jz Roll

2056 BrushRoll Lp

2057 Dir ty Snr

2058 Lo-Bit Snr

2059 Jngl pkt Snr

2060 Flange Snr

2061 Analog Snr 2

2062 TR909 Snr 4

2063 TR909 Snr 5

2064 TR909 Snr 6

2065 Urbn Sn Roll

2066 Hard Stick

2067 Dr y Stick

2068 R8 Comp Rim

2069 TR909 Rim

2070 Reg.L.Tom p

2071 Reg.L.Tom f

2072 Reg.M.Tom p

2073 Reg.M.Tom f

2074 Reg.H.Tom p

2075 Reg.H.Tom f

2076 Reg.L.TomFlm

2077 Reg.M.TomFlm

2078 Reg.H.TomFlm

2079 Jazz Lo Tom

2080 Jazz Mid Tom

2081 Jazz Hi Tom

2082 Jazz Lo Flm

2083 Jazz Mid Flm

2084 Jazz Hi Flm

2085 Dr y Lo Tom

2086 TR909 Tom

2087 TR909 DstTom

2088 Rock CHH1 mf

2089 Rock CHH1 f

2090 Rock CHH2 mf

2091 Rock CHH2 f

2092 Rock OHH

2093 HipHop CHH

2094 TR909 CHH 1

2095 TR909 CHH 2

2096 TR808 CHH 2

2097 TR808 CHH 3

2098 TR606 CHH

2099 TR606 DstCHH

2100 Dance CHH

2101 TR909 PHH 1

2102 TR909 PHH 2

2103 TR808 PHH

2104 TR606 PHH

2105 Lo-Bit OHH

2106 HipHop OHH

2107 TR909 OHH 1

2108 TR909 OHH 2

2109 TR808 OHH 2

2110 TR808 OHH 3

2111 Lite OHH

2112 Rock Crash 3

2113 Jazz Crash

2114 TR909 Crash

2115 Ride Bell

2116 Jazz Ride p

2117 Jazz Ride mf

64

No. Name

2118 TR909 Ride

2119 Hand Clap

2120 Bright Clap

2121 Disc Clap

2122 TR909 Clap 1

2123 TR909 Clap 2

2124 Cheap Clap

2125 Snap

2126 Cowbell Mute

2127 Wood Block 4

2128 Bongo Hi Op

2129 Bongo Lo Op

2130 Conga2 Hi Mt

2131 Conga2 HiSlp

2132 Conga2 Hi Op

2133 Conga2 LowOp

2134 Timbale 4

2135 Cabasa Up 3

2136 Guiro 1

2137 Tambourine 2

2138 Tambourine 3

2139 Tambourine 4

2140 Cuica 3

2141 Triangle 4

2142 Reverse Cym2

2143 F.Str mp A L

2144 F.Str mp A R

2145 Mrct A L

2146 Mrct A R

2147 RR F.Tom mp

2148 RR F.Tom 

2149 SF Kick 2 L

2150 SF Kick 2 R

2151 SF Snr p L

2152 SF Snr p R

2153 SF Snr f L

2154 SF Snr f R

2155 SF Snr  L

2156 SF Snr  R

2157 SF Rim p L

2158 SF Rim p R

2159 SF Rim mf L

2160 SF Rim mf R

2161 SF Rim f L

2162 SF Rim f R

2163 SF SnrGst1 L

2164 SF SnrGst1 R

2165 SF SnrGst2 L

2166 SF SnrGst2 R

2167 R&B Shr tSnr1

2168 Vint Snr

2169 Shor t Snr

2170 SF CStk p L

2171 SF CStk p R

2172 SF L.Tom mf

2173 SF L.Tom 

2174 SF M.Tom mf

2175 SF M.Tom 

2176 SF H.Tom mf

2177 SF H.Tom f

2178 RR FT Flm 

2179 SF LT Flm 

2180 SF MT Flm f

2181 SF HT Flm p

2182 SF HT Flm f

2183 SF HT Flm 

2184 808 Kick 1 P

2185 808 Kick 2 P

2186 909 Kick 1 P

2187 909 Kick 2 P

2188 909 Kick 3 P

2189 JungleKick P

2190 808 Snr 1 P

2191 808 Snr 2 P

2192 909 Snr 1 P

2193 909 Snr 2 P

2194 626 Snr P

2195 106 Snr

2196 Jungle Snr P

2197 Claptail

2198 Dist Clap

2199 Acd-Basson1p

No. Name

2200 Acd-Basson1f

2201 Acd-Basson2p

2202 Acd-Basson2f

2203 Acd-Sop 1 p

2204 Acd-Sop 1 f

2205 Acd-Sop 2 p

2206 Acd-Sop 2 f

2207 Acd-Violin p

2208 Acd-Violin f

2209 Acd-Clari1 p

2210 Acd-Clari1 f

2211 Acd-Clari2 p

2212 Acd-Clari2 f

2213 Acd-Musete p

2214 Acd-Musete f

2215 Acd-Accord p

2216 Acd-Accord f

2217 Acd-Harmon p

2218 Acd-Harmon f

2219 Acd-Piccolo

2220 Acd-Oboe 1 p

2221 Acd-Oboe 1 f

2222 Acd-Oboe 2 p

2223 Acd-Oboe 2 f

2224 Acd-Organ1 p

2225 Acd-Organ1 f

2226 Acd-Organ2 p

2227 Acd-Organ2 f

2228 Acd-RegistS1

2229 Acd-RegistS2

2230 Acd-RegistS3

2231 Acd-KeyO 1

2232 Acd-KeyO 2

2233 EEU-PickBs1p

2234 EEU-PickBs1f

2235 EEU-PickBs2p

2236 EEU-PickBs2f

2237 EEU-SlideBs1

2238 EEU-SlideBs2

2239 EEU-SlideBs3

2240 BB2-SlideBs1

2241 BB2-SlideBs2

2242 EEU-E.Gtr p

2243 EEU-E.Gtr f

2244 EEU-E.GtrTrm

2245 EEU-BozkGlid

2246 EEU-Bozuki p

2247 EEU-Bozuki f

2248 EEU-Bozuk 

2249 EEU-BozkTrem

2250 EEU-Violin

2251 EEU-E.Violin

2252 EEU-Sax p

2253 EEU-Sax f

2254 EEU-SaxKyO

2255 EEU-Or.Sax p

2256 EEU-Or.Sax f

2257 EEU-Clari p

2258 EEU-Clari f

2259 EEU-ClaKyO

2260 EEU-G ajde

2261 EEU-Tp p

2262 EEU-Tp f

2263 EEU-Tp Noise

2264 EEU-Tapan Fx

2265 EEU-TapanM p

2266 EEU-TapanM f

2267 EEU-TapanH p

2268 EEU-TapanHmf

2269 EEU-TapanH f

2270 EEU-TapanL p

2271 EEU-TapanL f

2272 EEU-LTom1 p

2273 EEU-LTom1 f

2274 EEU-LTom1 

2275 EEU-MTom1 p

2276 EEU-MTom1 f

2277 EEU-MTom1 

2278 EEU-HTom1 p

2279 EEU-HTom1 f

2280 EEU-HTom1 

2281 EEU-LTom2 p

No. Name

2282 EEU-LTom2 f

2283 EEU-LTom2 

2284 EEU-MTom2 p

2285 EEU-MTom2 f

2286 EEU-MTom2 

2287 EEU-HTom2 p

2288 EEU-HTom2 f

2289 EEU-HTom2 

2290 EEU-CrsStk p

2291 EEU-CrsStk mp

2292 EEU-CrsStk mf

2293 EEU-CrsStk f

2294 EEUSplashCym

2295 EEU-Ride mp

2296 EEU-Ride mf

2297 EEU-Ride Cup

2298 EEU-HH Op p

2299 EEU-HH Op mp

2300 EEU-HH Op mf

2301 EEU-HH Op f

2302 EEU-HH Cl1 p

2303 EEU-HH Cl1mp

2304 EEU-HH Cl1mf

2305 EEU-HH Cl1 f

2306 EEU-HH Cl2 p

2307 EEU-HH Cl2mp

2308 EEU-HH Cl2mf

2309 EEU-HH Cl2 f

2310 EEU-ChnCym p

2311 EEU-ChnCym f

2312 EEU-Cr.Cym1p

2313 EEU-Cr.Cym1f

2314 EEU-Cr.Cym2p

2315 EEU-Cr.Cym2f

2316 EEUbngL RM p

2317 EEUbngL RMmf

2318 EEUbngL RM f

2319 EEUbngH RM p

2320 EEUbngH RMmp

2321 EEUbngH RMmf

2322 EEUbngH RM f

2323 EEUbngL OP p

2324 EEUbngL OPmp

2325 EEUbngL OP f

2326 EEUbngL OPmf

2327 EEUbngH OP p

2328 EEUbngH OPmf

2329 EEUbngH OP f

2330 FG.TR909Clap

2331 VA.Cha2Bell1

2332 VA.Cha2Bell2

2333 SC.Elec Kick

2334 EM.DholaRak a

2335 EM.DholaTak1

2336 EM.DholaTak2

2337 EM.DofDom 1

2338 EM.DofDom 2

2339 EM.DofDom 3

2340 EM.DofTak 1

2341 EM.DofSak 1

2342 EM.DofSak 2

2343 EM.DofSak 3

2344 EM.DofFingr2

2345 EM.Tbl Raka1

2346 EM.Tbl Tak 1

2347 EM.Tbl Tik 1

2348 EM.Tbl Dom 1

2349 EM.Tbl Dom 2

2350 EM.Tbl Sak 1

2351 EM.Tbl Sak 2

2352 EM.Tbl Roll

2353 EM.Tbl Tak 2

2354 EM.Tbl Raka2

2355 EM.Tbl Rim 1

2356 EM.Tbl Toks1

2357 EM.Tbl Toks2

2358 EM.Tbl Toks3

2359 EM.Tbl Toks4

2360 EM.Tbl Rim 2

2361 EM.Tbl Tik 2

2362 EM.Rek Rak a

2363 EM.Rek Dom

No. Name

2364 EM.Rek Trill

2365 EM.Rek Tak 1

2366 EM.Rek Rim 1

2367 EM.Rek Rim 2

2368 EM.Rek Brs 1

2369 EM.Rek Brs 2

2370 EM.Rek Tok

2371 EM.Rek Brs 3

2372 EM.Rek Tak 2

2373 EM.REK Sak

2374 EM.Rek Tik

2375 EM.MazharDom

2376 EM.MazharTak

2377 EM.MazharSak

2378 EM.MazharBrs

2379 EM.Dofs Tak

2380 EM.Dofs Dom

2381 EM.Dofs Sak

2382 EM.Dofs Rim1

2383 EM.Dofs Rim2

2384 EM.Tbl2 Tak1

2385 EM.Tbl2 Rim1

2386 EM.Tbl2 Dom

2387 SC.TR909 BD2

2388 EEU-BsDrm mf

2389 EEU-BsDrm f

2390 EEU-BsDrm 

2391 EEU-Snare1 p

2392 EEU-Snare1mp

2393 EEU-Snare1mf

2394 EEU-Snare1 f

2395 EEU-Snare2mp

2396 EEU-Snare2mf

2397 EEU-Snare2 f

2398 EEU-Snare2

2399 EEU-ViolnSl1

2400 EEU-ViolnSl2

2401 EEU-E.VlnSl1

2402 EEU-E.VlnSl2

INTB

Waveform List

No.

Name

0001 GrandP* 1 mp

0002 GrandP* 1 f

0003 GrandP* 1 

0004 GrandP* 2 mp

0005 GrandP* 2 f

0006 GrandP* 2 

0007 GrandP*mp CL

0008 GrandP*mp CR

0009 GrandP* f CL

0010 GrandP* f CR

0011 GrandP* CL

0012 GrandP* CR

0013 Erhu 4 mp

0014 Erhu 4 f

0015 Erhu 4 Vib

0016 Erhu 4 Harm

0017 Banhu mf

0018 Banhu Vib

0019 Banhu Harm

0020 Banhu Orna

0021 Jinghu mf

0022 Jinghu f

0023 Sihu mp

0024 Sihu mf

0025 Sihu w/Atk

0026 Sihu Harm

0027 Matouqin2 mp

0028 Matouqin2Vib

0029 Yangqin 2 mp

0030 Yangqin 2 mf

0031 Yangqin 2Hrd

0032 Yangqin2Trem

0033 Zhongruan mp

0034 Zhongruan mf

0035 Zhngruan Hrm

0036 ZhngruanStrm

0037 Guqin mp

0038 Guqin mf

0039 Guqin Harm

0040 Qudi 2 mp

0041 Qudi 2 f

0042 Qudi 2 Orna

0043 Xiao 2 f

0044 Xiao2 Vib f

0045 Hulusi 2 mf

0046 Hulusi Atk

0047 Gu Roll

0048 Gu Hi

0049 Changgo

0050 Tang Gu Mt

0051 Tang Gu Op

0052 Shu Gu Rim

0053 Shu Gu

0054 Shu Ban

0055 Dholak 9

0056 Dholak 10

0057 Dhol 3

0058 Wadon 8

0059 Wadon 9

0060 Wadon 10

0061 Wadon 11

0062 Wadon 12

0063 Wadon 13

0064 Wadon 14

0065 Wadaiko

0066 Shimedaiko

0067 Wadaiko Rim

0068 Naggra 1 p

0069 Naggra 1 mf

0070 Naggra 1 f

0071 Naggra 1 

0072 Naggra 2 p

0073 Naggra 2 mf

0074 Naggra 2 f

0075 Naggra 2 

0076 Naggra 3 p

0077 Naggra 3 mf

0078 Naggra 3 f

0079 Naggra 3 

No.

Name

0080 Naggra 4 p

0081 Naggra 4 mf

0082 Naggra 4 f

0083 Naggra 4 

0084 Nggr Flam 1

0085 Nggr Flam 2

0086 Nggr Flam 3

0087 Nggr Flam 4

0088 Nggr Mute p

0089 Nggr Mute mf

0090 Nggr Mute f

0091 Nggr Mute 

0092 Nggr Roll 1

0093 Nggr Roll 2

0094 Nggr Roll 3

0095 Nggr Roll 4

0096 Nggr Side p

0097 Nggr Side mf

0098 Nggr Side f

0099 Nggr Side 

0100 Dap 1 p

0101 Dap 1 f

0102 Dap 2 p

0103 Dap 2 mf

0104 Dap 2 f

0105 Dap 2 

0106 Dap 3

0107 Dap 4

0108 Dap 5

0109 Dap 6

0110 Dap 7

0111 Dap 8

0112 Dap 9

0113 Dap 10

0114 Dap 11

0115 Dap 12

0116 Dap 13

0117 Dap 14

0118 Dap 15

0119 Dap 16

0120 Dap Roll 1

0121 Dap Roll 2

0122 Dap Roll 3

0123 Dap Roll 4

0124 Dap Roll 5

0125 Dap Roll 6

0126 Dap Roll 7

0127 Tabla 1

0128 Tabla 2

0129 Tabla 3

0130 Tabla 4

0131 Tabla 5

0132 Tabla 6

0133 Tabla 7

0134 Tabla 8

0135 Tabla 9

0136 Tabla 10

0137 Tabla 11

0138 TablaRoll 1

0139 TablaRoll 2

0140 TablaRoll 3

0141 TablaRoll 4

0142 TablaRoll 5

0143 TablaRoll 6

0144 TablaRoll 7

0145 TablaRoll 8

0146 TablaRoll 9

0147 Cga Mute Hi

0148 Cga Mute Lo

0149 Mokugyo 1

0150 Mokugyo 2

0151 Ban Gu 3

0152 Ban Gu 4

0153 Ban Gu 5

0154 Ohkawa

0155 Nao Bo

0156 Xiao Bo

0157 Kopyak Mt

0158 Kopyak Op

No.

Name

0159 Chenchen Opn

0160 Chenchen Cls

0161 Ceng Ceng 2

0162 Kwaengwari f

0163 KwaengwariMt

0164 Sagat Open 2

0165 Sagat Close2

0166 Asian Gong 2

0167 Shou Luo 1

0168 Shou Luo 2

0169 HuYinLuoH Op

0170 HuYinLuoL Op

0171 HuYinLuoH Mt

0172 HuYinLuoL Mt

0173 Big Gong

0174 Kane 2

0175 Kane Side

0176 Kwaengwari p

0177 GamelanGong2

0178 Saron

0179 Wind Bell 2

0180 Jinghu Menu

0181 Sihu Menu

0182 Matoqn Menu

0183 118:China Ph

0184 132:China Ph

65

Patch List

Bank: DS

No. Name

0001 Pf:S01 Grand Pno DS PNO

0002 Pf:S02 Rock Pno DS PNO

0003 Pf:S03 Nice Piano PNO

0004 Pf:S04 WarmVoxPiano PNO

0005 Pf:S05 MIDIed Grand PNO

0006 Pf:S06 West Coast PNO

0007 Pf:S07 JV EP+ EP

0008 Pf:S08 80's FM EP

0009 Pf:S09 Player's EP EP

0010 Pf:S10 EP Mix EP 087 073 010

0011 Pf:S11 Super Wurly EP 087 073 011

0012 Ky:S01 Fantasia JV BEL 087 073 012

0013 Ky:S02 D50 Fantasia BEL 087 073 013

0014 Ky:S03 Wave Bells BEL 087 073 014

0015 Ky:S04 Prefab Chime BEL 087 073 015

0016 Ky:S05 Warm VibesLS M LT 087 073 016

0017 Ky:S06 Acc.Master ACD 087 073 017

0018 Ky:S07 Acd-Basson1 ACD 087 073 018

0019 Ky:S08 Acd-Clarint1 ACD 087 073 019

0020 Ky:S09 Acd-Harmonm ACD 087 073 020

0021 Ky:S10 Acd-Musette ACD 087 073 021

0022 Ky:S11 Acd-Oboe 1 ACD 087 073 022

0023 Ky:S12 Acd-Organ 1 ACD 087 073 023

0024 Ky:S13 Acd-Piccolo ACD 087 073 024

0025 Ky:S14 Acd-Soprano1 ACD 087 073 025

0026 Ky:S15 Acd-Violin ACD 087 073 026

0027 Ky:S16 Acd-Accord ACD 087 073 027

0028 Ky:S17 Acd-Basson2 ACD 087 073 028

0029 Ky:S18 Acd-Clarint2 ACD 087 073 029

0030 Ky:S19 Acd-Oboe 2 ACD 087 073 030

0031 Ky:S20 Acd-Organ 2 ACD 087 073 031

0032 Ky:S21 Acd-Soprano2 ACD 087 073 032

0033 Ky:S22 Acd-ResistS1 ACD 087 073 033

0034 Ky:S23 Acd-ResistS2 ACD 087 073 034

0035 Ky:S24 Acd-ResistS3 ACD 087 073 035

0036 Ky:S25 Perky Twin B ORG 087 073 036

0037 Ky:S26 Perc OrganJU ORG 087 073 037

0038 Ky:S27 Blues Perc ORG 087 073 038

0039 Ky:S28 AllSkate!SRX ORG 087 073 039

0040 Ky:S29 D-50 Organ 1 ORG 087 073 040

0041 Ky:S30 D-50 Organ 2 ORG 087 073 041

0042 Ky:S31 ChurchOrg XP ORG 087 073 042

0043 Gt:S01 Ac.Gtrs SRX AGT 087 073 043

0044 Gt:S02 Bouzuk i /Gld AGT 087 073 044

0045 Gt:S03 Bouzuk i Glid AGT 087 073 045

0046 Gt:S04 Bouzuk i /Trm AG T 087 073 046

0047 Gt:S05 Bouzuk i Trem AGT 087 073 047

0048 Gt:S06 Bouzuk i /3 AG T 087 073 048

0049 Gt:S07 E.Guitar/Trm EGT 087 073 049

0050 Gt:S08 E.Guitar /2 EGT 087 073 050

0051 Gt:S09 E.Guitar 1 EGT 087 073 051

0052 Gt:S10 E.Guitar 2 EGT 087 073 052

0053 Gt:S11 E.Guitar Trm EGT 087 073 053

0054 Gt:S12 Guitar Rock DGT 087 073 054

0055 Gt:S13 Pick Bs DI BS 087 073 055

0056 Gt:S14 Pick Bs Line BS 087 073 056

0057 Gt:S15

0058 Gt:S16 GAIA A-1 Bs SBS 087 073 058

0059 Gt:S17 Shor t Bs 1 SBS 087 073 059

0060 Gt:S18 Shor t Bs 2 SBS 087 073 060

0061 Gt:S19 5th Stac Bs SBS 087 073 061

0062 Gt:S20 Elec troBass SBS 087 073 062

0063 Gt:S21 SideChain Bs SBS 087 073 063

0064 Gt:S22 Wobble Bass SBS 087 073 064

0065 Gt:S23 WobbleBs/Mod SBS 087 073 065

0066 Gt:S24 AutoWobble SBS 087 073 066

0067 Gt:S25 Growl Bass SBS 087 073 067

0068 Gt:S26 Monster Bass SBS 087 073 068

0069 Gt:S27 E.Bs Slide 1 BS 087 073 069

0070 Gt:S28 E.Bs Slide 2 BS 087 073 070

0071 Gt:S29 E.Bs Slide 3 BS 087 073 071

0072 Gt:S30 E.Bs Slide 4 BS 087 073 072

0073 Gt:S31 E.Bs Slide 5 BS 087 073 073

0074 Oc:S01 Strings LS STR 087 073 074

0075 Oc:S02 Stage Str LS STR 087 073 075

0076 Oc:S03 St.Strings STR 087 073 076

0077 Oc:S04 Strings STR 087 073 077

0078 Oc:S05 FullStrings2 STR 087 073 078

0079 Oc:S06 Film Octaves STR 087 073 079

Slap Bass JP BS 087 073 057

Sub-category

MSB LSB PC

087 073 001

087 073 002

087 073 003

087 073 004

087 073 005

087 073 006

087 073 007

087 073 008

087 073 009

No. Name

0080 Oc:S07 GX Strings STR 087 073 080

0081 Oc:S08 Slow Str XP STR 087 073 081

0082 Oc:S09 Mood Strings STR 087 073 082

0083 Oc:S10 Str+Choir STR 087 073 083

0084 Oc:S11 JP8.Strings STR 087 073 084

0085 Oc:S12 Violin 1 STR 087 073 085

0086 Oc:S13 Violin 2 STR 087 073 086

0087 Oc:S14 Vln Silde 1 STR 087 073 087

0088 Oc:S15 Vln Silde 2 STR 087 073 088

0089 Oc:S16 E.Violin 1 STR 087 073 089

0090 Oc:S17 E.Violin 2 STR 087 073 090

0091 Oc:S18 El Vln Sld 1 STR 087 073 091

0092 Oc:S19 El Vln Sld 2 STR 087 073 092

0093 Br:S01 X Brs Sect BRS 087 073 093

0094 Br:S02 Brass RD BRS 087 073 094

0095 Br:S03 R&R Brass BRS 087 073 095

0096 Br:S04 SessionBrass BRS 087 073 096

0097 Br:S05 Trumpet /2 BRS 087 073 097

0098 Br:S06 Trumpet /2wP BRS 087 073 098

0099 Br:S07 TrumpetSftwP BRS 087 073 099

0100 Br:S08 TrumpetLudwP BRS 087 073 100

0101 Br:S09 Trumpet RD BRS 087 073 101

0102 Br:S10 Trumpet BRS 087 073 102

0103 Br:S11 Jump BrassFG SBR 087 073 103

0104 Br:S12 JP8000 BrsFS SBR 087 073 104

0105 Br:S13 Sax /2 SAX 087 073 105

0106 Br:S14 Sax /2 wPad SAX 087 073 106

0107 Br:S15 Sax Sft wPad SAX 087 073 107

0108 Br:S16 Sax Lud wPad SAX 087 073 108

0109 Br:S17 Or Sax /2 SAX 087 073 109

0110 Br:S18 Or Sax/2wPad SAX 087 073 110

0111 Br:S19 Alto mp SAX 087 073 111

0112 Br:S20 Alto Sax LS SAX 087 073 112

0113 Br:S21 Alto Sax GW SAX 087 073 113

0114 Br:S22 BlowAltoVib SAX 087 073 114

0115 Br:S23 Blow Tenor SAX 087 073 115

0116 Br:S24 Solo Tenor SAX 087 073 116

0117 Br:S25 Soft Sax SAX 087 073 117

0118 Br:S26 Flute+1octLS F LT 087 073 118

0119 Br:S27 Atk Flute FLT 087 073 119

0120 Br:S28 SL LivingCal F LT 087 073 120

0121 Br:S29 Clarinet /2 WND 087 073 121

0122 Sy:S01 Analog Lead HLD 087 073 122

0123 Sy:S02 Synth Solo HLD 087 073 123

0124 Sy:S03 JP8 PulseLd HLD 087 073 124

0125 Sy:S04 EDM Saw Lead HLD 087 073 125

0126 Sy:S05 EDM Sqr Lead HLD 087 073 126

0127 Sy:S06 TB Dist Sqr HLD 087 073 127

0128 Sy:S07 Trap Sqr Ld HLD 087 073 128

0129 Sy:S08 P5 Sync Lead HLD 087 074 001

0130 Sy:S09 R ajasthaniLS HLD 087 074 002

0131 Sy:S10 Edye Boost HLD 087 074 003

0132 Sy:S11 Pure Sine Ld SLD 087 074 004

0133 Sy:S12 Tri Stack Ld SLD 087 074 005

0134 Sy:S13 D -50 Stack SYN 087 074 006

0135 Sy:S14 Stacc.Heaven SYN 087 074 007

0136 Sy:S15

0137 Sy:S16 Pluck Synth SYN 087 074 009

0138 Sy:S17 Solid Pluck SYN 087 074 010

0139 Sy:S18 D50 DigiNDnc SYN 087 074 011

0140 Sy:S19 D50 FuturePd SYN 087 074 012

0141 Sy:S20 Sugar Keys SYN 087 074 013

0142 Sy:S21 260 & JUNO SYN 087 074 014

0143 Sy:S22 GAIA F-3Trns SYN 087 074 015

0144 Sy:S23 S-S awStacSyn SYN 087 074 016

0145 Sy:S24 SuperSaws SYN 087 074 017

0146 Sy:S25 Bustranza JU SYN 087 074 018

0147 Sy:S26 80s Poly SYN 087 074 019

0148 Sy:S27 Fat Analog SYN 087 074 020

0149 Sy:S28 Strobot 2 SYN 087 074 021

0150 Sy:S29 StepTrance 2 SYN 087 074 022

0151 Sy:S30 Growl Synth SYN 087 074 023

0152 Sy:S31 Hover Lead TEK 087 074 024

0153 Sy:S32 Tech Rave TEK 087 074 025

0154 Sy:S33 Elec trostrs2 TEK 087 074 026

0155 Sy:S34 SideChainPad PLS 087 074 027

0156 Sy:S35 Blade R acer PLS 087 074 028

0157 Sy:S36 Throbulax 2 PLS 087 074 029

0158 Sy:S37 Step In 2 PLS 087 074 030

0159 Sy:S38 Cross Talk 2 PLS 087 074 031

0160 Sy:S39 Chop Synth 2 PLS 087 074 032

D50 Stac Hvn SYN 087 074 008

Sub-category

MSB LSB PC

66

Patch List

No. Name

0161 Sy:S40 AutoTrance 3 PLS 087 074 033

0162 Sy:S41 Poly Gate PLS 087 074 034

0163 Sy:S42 R ise Up FX 087 074 035

0164 Sy:S43 Sci-Fi FX x4 FX 087 074 036

0165 Sy:S44 LazerPoints2 FX 087 074 037

0166 Sy:S45 EDM Kick FX 087 074 038

0167 Vo:S01 Chorus LS VOX 087 074 039

0168 Vo:S02 Mmmms VOX 087 074 040

0169 Vo:S03 Voc:Ensemble V OX 087 074 041

0170 Vo:S04 Voc:5thStack VOX 087 074 042

0171 Vo:S05 Voc:Robot VOX 087 074 043

0172 Vo:S06 Voc:Saw VOX 087 074 044

0173 Vo:S07 Voc:Sqr VOX 087 074 045

0174 Vo:S08 Voc:Rise Up V OX 087 074 046

0175 Vo:S09 Voc:Auto Vib VOX 087 074 047

0176 Vo:S10 Voc:PitchEnv VOX 087 074 048

0177 Vo:S11 Voc:Choir V OX 087 074 049

0178 Vo:S12 Voc:Noise VOX 087 074 050

0179 Vo:S13 SLSoundTrack SPD 087 074 051

0180 Vo:S14 ORBit Pad SPD 087 074 052

0181 Vo:S15 Soft Pad 2 SPD 087 074 053

0182 Vo:S16 Far East XP SPD 087 074 054

0183 Vo:S17 JupiterMv JU SPD 087 074 055

0184 Wr:S01 Gajde ETH 087 074 056

Sub-category

MSB LSB PC

Bank: PRST

No. Name

0001 Pf:001 88StageGrand PNO

0002 Pf:002 88StgGrand 2 PNO

0003 Pf:003 88StgGrand 3 PNO

0004 Pf:004 JUNO Piano 1 PNO

0005 Pf:005 JUNO Piano 2 PNO

0006 Pf:006 Rich Grand 1 PNO

0007 Pf:007 Rich Grand 2 PNO

0008 Pf:008 Piano+Str 1 PNO

0009 Pf:009 Fairy Piano PNO

0010 Pf:010 Pop Piano 1 PNO 087 064 010

0011 Pf:011 Pop Piano 2 PNO 087 064 011

0012 Pf:012 ConcertGrand PNO 087 064 012

0013 Pf:013 Warm Tune PNO 087 064 013

0014 Pf:014 Hall Concert PNO 087 064 014

0015 Pf:015 Mellow Tune PNO 087 064 015

0016 Pf:016 Mono Piano 1 PNO 087 064 016

0017 Pf:017 Mono Piano 2 PNO 087 064 017

0018 Pf:018 Mono Piano 3 PNO 087 064 018

0019 Pf:019 Piano+Pad 1 PNO 087 064 019

0020 Pf:020 Piano+Pad 2 PNO 087 064 020

0021 Pf:021 Piano+Vox PNO 087 064 021

0022 Pf:022 Piano+Str 2 PNO 087 064 022

0023 Pf:023 Layers PNO 087 064 023

0024 Pf:024 Grand Hall PNO 087 064 024

0025 Pf:025 Cicada Piano PNO 087 064 025

0026 Pf:026 Rapsody PNO 087 064 026

0027 Pf:027 Pop Piano 3 PNO 087 064 027

0028 Pf:028 Pop Piano 4 PNO 087 064 028

0029 Pf:029 Radio Piano PNO 087 064 029

0030 Pf:030 Rok kin' pF PNO 087 064 030

0031 Pf:031 JD Piano 1 PNO 087 064 031

0032 Pf:032 JD Piano 2 PNO 087 064 032

0033 Pf:033 JD Piano&Str PNO 087 064 033

0034 Pf:034 SA Dance Pno PNO 087 064 034

0035 Pf:035 E-G rand PNO 087 064 035

0036 Pf:036 Back E- Grand PNO 087 064 036

0037 Pf:037 Dark Grand PNO 087 064 037

0038 Pf:038 Grand+FM PNO 087 064 038

0039 Pf:039 Blend Piano PNO 087 064 039

0040 Pf:040 Piano Oz PNO 087 064 040

0041 Pf:041 Meditate Pno PNO 087 064 041

0042 Pf:042 FX Piano PNO 087 064 042

0043 Pf:043 AmbientPiano PNO 087 064 043

0044 Pf:044 Pure EP EP 087 064 044

0045 Pf:045 Pure EP Trem EP 087 064 045

0046 Pf:046 Stage Phazer EP 087 064 046

0047 Pf:047 SA EPiano 1 EP 087 064 047

0048 Pf:048 FM EP 1 EP 087 064 048

0049 Pf:049 Pure Wurly 1 EP 087 064 049

0050 Pf:050 Wurly Trem 1 EP 087 064 050

0051 Pf:051 VelSpdWurly EP 087 064 051

0052 Pf:052 Phase EP 1 EP 087 064 052

Sub-category

MSB LSB PC

087 064 001

087 064 002

087 064 003

087 064 004

087 064 005

087 064 006

087 064 007

087 064 008

087 064 009

No. Name

0053 Pf:053 Phase Stg EP EP 087 064 053

0054 Pf:054 Flanger EP EP 087 064 054

0055 Pf:055 TEL Stage EP EP 087 064 055

0056 Pf:056 Vintage EP 1 EP 087 064 056

0057 Pf:057 Vintage EP 2 EP 087 064 057

0058 Pf:058 Vintage EP 3 EP 087 064 058

0059 Pf:059 Stage EP 1 EP 087 064 059

0060 Pf:060 Stage EP 2 EP 087 064 060

0061 Pf:061 StageCabinet EP 087 064 061

0062 Pf:062 StageEP Trem EP 087 064 062

0063 Pf:063 EP Trem 1 EP 087 064 063

0064 Pf:064 EP Trem 2 EP 087 064 064

0065 Pf:065 EP Trem 3 EP 087 064 065

0066 Pf:066 EP Chorus 1 EP 087 064 066

0067 Pf:067 EP Chorus 2 EP 087 064 067

0068 Pf:068 EP Chorus 3 EP 087 064 068

0069 Pf:069 Phase EP 2 EP 087 064 069

0070 Pf:070 80s EP 1 EP 087 064 070

0071 Pf:071 Dyno EP EP 087 064 071

0072 Pf:072 E.Piano EP 087 064 072

0073 Pf:073 Back2the60s EP 087 064 073

0074 Pf:074 Tine EP EP 087 064 074

0075 Pf:075 LEO EP EP 087 064 075

0076 Pf:076 SA EPiano 2 EP 087 064 076

0077 Pf:077 SA EP Trem EP 087 064 077

0078 Pf:078 FM EP mix EP 087 064 078

0079 Pf:079 FM-777 EP 087 064 079

0080 Pf:080 FM EP 2 EP 087 064 080

0081 Pf:081 FM EP 3 EP 087 064 081

0082 Pf:082 FM EP 4 EP 087 064 082

0083 Pf:083 Pure Wurly 2 EP 087 064 083

0084 Pf:084 Pure Wurly 3 EP 087 064 084

0085 Pf:085 Wurly Trem 2 EP 087 064 085

0086 Pf:086 Wurly Trem 3 EP 087 064 086

0087 Pf:087 EP Layer EP 087 064 087

0088 Pf:088 80s EP 2 EP 087 064 088

0089 Pf:089 Pop EP EP 087 064 089

0090 Pf:090 EP Bell 1 EP 087 064 090

0091 Pf:091 EP Bell 2 EP 087 064 091

0092 Pf:092 LonesomeRoad EP 087 064 092

0093 Pf:093 Age'n'Tines EP 087 064 093

0094 Pf:094 Brill TremEP EP 087 064 094

0095 Pf:095 Cr ystal EP EP 087 064 095

0096 Pf:096 Vintage Tine EP 087 064 096

0097 Pf:097 Mk2 Stg phsr EP 087 064 097

0098 Pf:098 Celestial EP EP 087 064 098

0099 Pf:099 Psycho EP 1 EP 087 064 099

0100 Pf:100 Psycho EP 2 EP 087 064 100

0101 Pf:101 TineEP+Pad EP 087 064 101

0102 Pf:102 Wurly+Pad EP 087 064 102

0103 Pf:103 Dreaming EP EP 087 064 103

0104 Pf:104 Balladeer EP 087 064 104

0105 Pf:105 Remember EP 087 064 105

0106 Pf:106 Vibe EP EP 087 064 106

0107 Pf:107 sin(EP) EP 087 064 107

0108 Pf:108 Fonky Fonky EP 087 064 108

0109 Pf:109

0110 Pf:110 EP Stack EP 087 064 110

0111 Ky:001 HardRockORG1 ORG 087 064 111

0112 Ky:002 HardRockORG2 ORG 087 064 112

0113 Ky:003 GT Org Stack ORG 087 064 113

0114 Ky:004 GT Org Std ORG 087 064 114

0115 Ky:005 GT Org Clean ORG 087 064 115

0116 Ky:006 Perc Organ 1 ORG 087 064 116

0117 Ky:007 FullStop Org ORG 087 064 117

0118 Ky:008 FullDraw Org ORG 087 064 118

0119 Ky:009 StakDraw Org ORG 087 064 119

0120 Ky:010 JUNO PercOrg ORG 087 064 120

0121 Ky:011 VKHold4Speed ORG 087 064 121

0122 Ky:012 Pop Organ 1 ORG 087 064 122

0123 Ky:013 Pop Organ 2 ORG 087 064 123

0124 Ky:014 Pop Organ 3 ORG 087 064 124

0125 Ky:015 B Org 1 ORG 087 064 125

0126 Ky:016 B Org 2 ORG 087 064 126

0127 Ky:017 B Org 3 ORG 087 064 127

0128 Ky:018 B Org 4 ORG 087 064 128

0129 Ky:019 D.Bar Org 1 ORG 087 065 001

0130 Ky:020 D.Bar Org 2 ORG 087 065 002

0131 Ky:021 D.Bar Org 3 ORG 087 065 003

0132 Ky:022 D.Bar Org 4 ORG 087 065 004

0133 Ky:023 D.Bar Org 5 ORG 087 065 005

FM EPad EP 087 064 109

Sub-category

MSB LSB PC

67

Patch List

No. Name

0134 Ky:024 D.Bar Org 6 ORG 087 065 006

0135 Ky:025 D.Bar Org 7 ORG 087 065 007

0136 Ky:026 D.Bar Org 8 ORG 087 065 008

0137 Ky:027 Perc Organ 2 ORG 087 065 009

0138 Ky:028 X Perc Organ ORG 087 065 010

0139 Ky:029 Rhythm'n'B ORG 087 065 011

0140 Ky:030 Phono Organ ORG 087 065 012

0141 Ky:031 Rochno Org OR G 087 065 013

0142 Ky:032 R&B Organ 1 ORG 087 065 014

0143 Ky:033 R&B Organ 2 ORG 087 065 015

0144 Ky:034 SuperDistOrg ORG 087 065 016

0145 Ky:035 SuperDist Ld ORG 087 065 017

0146 Ky:036 Dist Bee ORG 087 065 018

0147 Ky:037 LoFi PercOrg ORG 087 065 019

0148 Ky:038 60's Org 1 ORG 087 065 020

0149 Ky:039 60's Org 2 ORG 087 065 021

0150 Ky:040 Smoky Organ ORG 087 065 022

0151 Ky:041 Soap Opera ORG 087 065 023

0152 Ky:042 Crummy Organ ORG 087 065 024

0153 Ky:043 Aqua Org/Pno ORG 087 065 025

0154 Ky:044 Positive Org ORG 087 065 026

0155 Ky:045 Chapel Organ ORG 087 065 027

0156 Ky:046 Cathedral ORG 087 065 028

0157 Ky:047 Grand Pipe ORG 087 065 029

0158 Ky:048 Pipe Organ 1 ORG 087 065 030

0159 Ky:049 Pipe Organ 2 ORG 087 065 031

0160 Ky:050 Masked Opera ORG 087 065 032

0161 Ky:051 Clavi 1 KEY 087 065 033

0162 Ky:052 Clavi 2 KEY 087 065 034

0163 Ky:053 Phase Clavi1 KEY 087 065 035

0164 Ky:054 Phase Clavi2 KEY 087 065 036

0165 Ky:055 AnalogClavi1 KEY 087 065 037

0166 Ky:056 Pulse Clavi KE Y 087 065 038

0167 Ky:057 VintageClavi KEY 087 065 039

0168 Ky:058 Cutter Clavi KEY 087 065 040

0169 Ky:059 Over-D6 KEY 087 065 041

0170 Ky:060 Cell Clavi KEY 087 065 042

0171 Ky:061 Clavi 3 KEY 087 065 043

0172 Ky:062 Clavi 4 KEY 087 065 044

0173 Ky:063 Clavi 5 KEY 087 065 045

0174 Ky:064 Funky D KEY 087 065 046

0175 Ky:065 Funky Line KEY 087 065 047

0176 Ky:066 AnalogClavi2 KEY 087 065 048

0177 Ky:067 PWM Clavi KEY 087 065 049

0178 Ky:068 Biting Clavi KEY 087 065 050

0179 Ky:069 Reso Clavi KEY 087 065 051

0180 Ky:070 BPF Clavi Ph KEY 087 065 052

0181 Ky:071 Snappy Clavi KEY 087 065 053

0182 Ky:072 Harpsy Clavi KEY 087 065 054

0183 Ky:073 JUNO Harpsi KEY 087 065 055

0184 Ky:074 Amadeus KEY 087 065 056

0185 Ky:075 Music Bells BEL 087 065 057

0186 Ky:076 D50Fantasia1 BEL 087 065 058

0187 Ky:077 D50Fantasia2 BEL 087 065 059

0188 Ky:078 Frends Bell BEL 087 065 060

0189 Ky:079 FM Syn Bell BEL 087 065 061

0190 Ky:080

0191 Ky:081 Himalaya Ice BEL 087 065 063

0192 Ky:082 Wine Glass BEL 087 065 064

0193 Ky:083 MuBox Pad BEL 087 065 065

0194 Ky:084 Pop Bell BEL 087 065 066

0195 Ky:085 Candy Bell BEL 087 065 067

0196 Ky:086 FM Heaven BEL 087 065 068

0197 Ky:087 JUNO Celesta BEL 087 065 069

0198 Ky:088 Celesta Trem BEL 087 065 070

0199 Ky:089 Glocken BEL 087 065 071

0200 Ky:090 Music Box 1 BEL 087 065 072

0201 Ky:091 Music Box 2 BEL 087 065 073

0202 Ky:092 Kalimbells BEL 087 065 074

0203 Ky:093 JUNO Bell BEL 087 065 075

0204 Ky:094 Grained Bell BEL 087 065 076

0205 Ky:095 Chime BEL 087 065 077

0206 Ky:096 Bell Ring BEL 087 065 078

0207 Ky:097 Tubular Bell BEL 087 065 079

0208 Ky:098 5th Key BEL 087 065 080

0209 Ky:099 Bell Monitor BEL 087 065 081

0210 Ky:100 TubyRuesday BEL 087 065 082

0211 Ky:101 Step Ice BEL 087 065 083

0212 Ky:102 Vibe Trem 1 MLT 087 065 084

0213 Ky:103 Vibe Trem 2 MLT 087 065 085

0214 Ky:104 Pure Vibe MLT 087 065 086

Dreaming Box BEL 087 065 062

Sub-category

MSB LSB PC

No. Name

0215 Ky:105 Ringy Vibes M LT 087 065 087

0216 Ky:106 Airie Vibez MLT 087 065 088

0217 Ky:107 JUNO Marimba MLT 087 065 089

0218 Ky:108 Soft Marimba MLT 087 065 090

0219 Ky:109 FM Wood M LT 087 065 091

0220 Ky:110 Xylo MLT 087 065 092

0221 Ky:111 Ethno Keys M LT 087 065 093

0222 Ky:112 Synergy MLT M LT 087 065 094

0223 Ky:113 JUNO SteelDr M LT 087 065 095

0224 Ky:114 50`SteelDrms M LT 087 065 096

0225 Ky:115 Xylosizer MLT 087 065 097

0226 Ky:116 AirPluck M LT 087 065 098

0227 Ky:117 Toy Box MLT 087 065 099

0228 Ky:118 Icy Keys MLT 087 065 100

0229 Ky:119 Squeeze Me! ACD 087 065 101

0230 Ky:120 Vodkakordion ACD 087 065 102

0231 Ky:121 Guinguette ACD 087 065 103

0232 Ky:122 JUNO Harm HRM 087 065 104

0233 Ky:123 Blues harp HRM 087 065 105

0234 Ky:124 Green Bullet HRM 087 065 106

0235 Gt:001 JUNO Nylon AGT 087 065 107

0236 Gt:002 Comp Stl Gtr AGT 087 065 108

0237 Gt:003 Pre Mass Hum AGT 087 065 109

0238 Gt:004 Uncle Mar tin AGT 087 065 110

0239 Gt:005 12str Guitar AGT 087 065 111

0240 Gt:006 Nylon Gtr AGT 087 065 112

0241 Gt:007 SoftNyln Gtr AGT 087 065 113

0242 Gt:008 Wet Nyln Gtr AGT 087 065 114

0243 Gt:009 Bright Nylon AGT 087 065 115

0244 Gt:010 Pure Nylon AGT 087 065 116

0245 Gt:011 Nylon Delay AGT 087 065 117

0246 Gt:012 Thick Steel AGT 087 065 118

0247 Gt:013 Wide Ac Gtr AG T 087 065 119

0248 Gt:014 So good ! AGT 087 065 120

0249 Gt:015 Jazz Guitar1 EGT 087 065 121

0250 Gt:016 Jazz Guitar2 EGT 087 065 122

0251 Gt:017 DynoJazz Gtr EGT 087 065 123

0252 Gt:018 Clean Gtr 1 EGT 087 065 124

0253 Gt:019 Clean Gtr 2 EGT 087 065 125

0254 Gt:020 Pick Gtr EGT 087 065 126

0255 Gt:021 Strat Gtr 1 EGT 087 065 127

0256 Gt:022 Strat Gtr 2 EGT 087 065 128

0257 Gt:023 Funk Gtr EGT 087 066 001

0258 Gt:024 StratSeq'nce EGT 087 066 002

0259 Gt:025 Plug n' Gig1 EGT 087 066 003

0260 Gt:026 Plug n' Gig2 EGT 087 066 004

0261 Gt:027 Kinda Kurt EGT 087 066 005

0262 Gt:028 Nice Oct Gtr EGT 087 066 006

0263 Gt:029 Crimson Gtr EGT 087 066 007

0264 Gt:030 Plugged!! DGT 087 066 008

0265 Gt:031 Punker 1 DGT 087 066 009

0266 Gt:032 Rockin' Dly DGT 087 066 010

0267 Gt:033 Loud Gtr DGT 087 066 011

0268 Gt:034 Searing Gtr DGT 087 066 012

0269 Gt:035 Searing COSM DGT 087 066 013

0270 Gt:036 OctSearingGt DGT 087 066 014

0271 Gt:037

0272 Gt:038 Fuzz Gtr DGT 087 066 016

0273 Gt:039 Crunch Twin DGT 087 066 017

0274 Gt:040 Larsen DGT 087 066 018

0275 Gt:041 Trem-o-Vibe DGT 087 066 019

0276 Gt:042 Touch Drive DGT 087 066 020

0277 Gt:043 Chunk Atk DGT 087 066 021

0278 Gt:044 LP Dist DGT 087 066 022

0279 Gt:045 Hurtling Gtr DGT 087 066 023

0280 Gt:046 Power Chord DGT 087 066 024

0281 Gt:047 Punker 2 DGT 087 066 025

0282 Gt:048 Ac Bass 1 BS 087 066 026

0283 Gt:049 Ac Bass 2 BS 087 066 027

0284 Gt:050 Ac Bass 3 BS 087 066 028

0285 Gt:051 Ulti Ac Bass BS 087 066 029

0286 Gt:052 Downright Bs BS 087 066 030

0287 Gt:053 Cmp'd Fng Bs BS 087 066 031

0288 Gt:054 FingerMaster BS 087 066 032

0289 Gt:055 Return2Base! BS 087 066 033

0290 Gt:056 Finger Bs 1 BS 087 066 034

0291 Gt:057 Finger Bs 2 BS 087 066 035

0292 Gt:058 Finger Bs 3 BS 087 066 036

0293 Gt:059 Fretless Bs1 BS 087 066 037

0294 Gt:060 Fretless Bs2 BS 087 066 038

0295 Gt:061 Fretless Bs3 BS 087 066 039

Dist.Fingerz DGT 087 066 015

Sub-category

MSB LSB PC

68

Patch List

No. Name

0296 Gt:062 RichFretless BS 087 066 040

0297 Gt:063 NewAge Frtls BS 087 066 041

0298 Gt:064 P-Bass BS 087 066 042

0299 Gt:065 Roomy Bass BS 087 066 043

0300 Gt:066 All Round Bs BS 087 066 044

0301 Gt:067 Pick Bass 1 BS 087 066 045

0302 Gt:068 Pick Bass 2 BS 087 066 046

0303 Gt:069 Thumb Up! BS 087 066 047

0304 Gt:070 Tubby Mute BS 087 066 048

0305 Gt:071 Chicken Bass BS 087 066 049

0306 Gt:072 Snug Bass BS 087 066 050

0307 Gt:073 Chorus Bass BS 087 066 051

0308 Gt:074 A Big Pick BS 087 066 052

0309 Gt:075 Slap Bass BS 087 066 053

0310 Gt:076 Slap w/Fx BS 087 066 054

0311 Gt:077 Basement BS 087 066 055

0312 Gt:078 Low Bass SBS 087 066 056

0313 Gt:079 Foundation SBS 087 066 057

0314 Gt:080 SH Sawtooth SBS 087 066 058

0315 Gt:081 Fat RubberBs SBS 087 066 059

0316 Gt:082 Garage Bass1 SBS 087 066 060

0317 Gt:083 Reso SynBs 1 SBS 087 066 061

0318 Gt:084 TB Dist Bs SBS 087 066 062

0319 Gt:085 JUNO Acid Bs SBS 087 066 063

0320 Gt:086 Monster Bass SBS 087 066 064

0321 Gt:087 Oil Can Bass SBS 087 066 065

0322 Gt:088 Pedal Syn Bs SBS 087 066 066

0323 Gt:089 Big Mini 1 SBS 087 066 067

0324 Gt:090 Big Mini 2 SBS 087 066 068

0325 Gt:091 SH-2 Bs SBS 087 066 069

0326 Gt:092 SH-101 Bs 1 SBS 087 066 070

0327 Gt:093 R&B Bass 1 SBS 087 066 071

0328 Gt:094 R&B Bass 2 SBS 087 066 072

0329 Gt:095 R&B Bass 3 SBS 087 066 073

0330 Gt:096 Moogy Bass 1 SBS 087 066 074

0331 Gt:097 Moogy Bass 2 SBS 087 066 075

0332 Gt:098 JUNO Reso SBS 087 066 076

0333 Gt:099 Alpha SynBs1 SBS 087 066 077

0334 Gt:100 Alpha SynBs2 SBS 087 066 078

0335 Gt:101 SH Square SBS 087 066 079

0336 Gt:102 Pedal Square SBS 087 066 080

0337 Gt:103 Doze Bass 1 SBS 087 066 081

0338 Gt:104 VirtualRnBs1 SBS 087 066 082

0339 Gt:105 Saw&MG Bass1 SBS 087 066 083

0340 Gt:106 Square Bass SBS 087 066 084

0341 Gt:107 Bs MG SBS 087 066 085

0342 Gt:108 Bs Reso SBS 087 066 086

0343 Gt:109 Bs SH SBS 087 066 087

0344 Gt:110 Bs TB SBS 087 066 088

0345 Gt:111 Bs MC SBS 087 066 089

0346 Gt:112 Bs Pedal SBS 087 066 090

0347 Gt:113 Bs Release SBS 087 066 091

0348 Gt:114 Bs Cheeze SBS 087 066 092

0349 Gt:115 Mini Like! SBS 087 066 093

0350 Gt:116 MC-404 Bass SBS 087 066 094

0351 Gt:117 Soft SynBass SBS 087 066 095

0352 Gt:118

0353 Gt:119 Smooth Bass SBS 087 066 097

0354 Gt:120 Flat Bass SBS 087 066 098

0355 Gt:121 Punch MG 2 SBS 087 066 099

0356 Gt:122 Electro Rubb SBS 087 066 100

0357 Gt:123 R&B Bass 4 SBS 087 066 101

0358 Gt:124 Enorjizor SBS 087 066 102

0359 Gt:125 LowFat Bass SBS 087 066 103

0360 Gt:126 Doze Bass 2 SBS 087 066 104

0361 Gt:127 DCO Bass SBS 087 066 105

0362 Gt:128 VirtualRnBs2 SBS 087 066 106

0363 Gt:129 Saw&MG Bass2 SBS 087 066 107

0364 Gt:130 MG+SubOsc Bs SBS 087 066 108

0365 Gt:131 R&B Bass 5 SBS 087 066 109

0366 Gt:132 R&B Bass 6 SBS 087 066 110

0367 Gt:133 Not a Bass SBS 087 066 111

0368 Gt:134 Reso SynBs 2 SBS 087 066 112

0369 Gt:135 SH-1 Bass SBS 087 066 113

0370 Gt:136 SH-101 Bs 2 SBS 087 066 114

0371 Gt:137 Punch MG 1 SBS 087 066 115

0372 Gt:138 MKS-50 SynBs SBS 087 066 116

0373 Gt:139 Gashed Bass SBS 087 066 117

0374 Gt:140 Q Bass SBS 087 066 118

0375 Gt:141 Super-G DX SBS 087 066 119

0376 Gt:142 Kickin' Bass SBS 087 066 120

JUNO-106 Bs SBS 087 066 096

Sub-category

MSB LSB PC

No. Name

0377 Gt:143 OilDrum Bass SBS 087 066 121

0378 Gt:144 Dust Bass SBS 087 066 122

0379 Gt:145 Glide -iator SBS 087 066 123

0380 Gt:146 Acid Punch SBS 087 066 124

0381 Gt:147 Unison Bass SBS 087 066 125

0382 Gt:148 Detune Bass SBS 087 066 126

0383 Gt:149 Lo Bass SBS 087 066 127

0384 Gt:150 Garage Bass2 SBS 087 066 128

0385 Gt:151 Sub Sonic SBS 087 067 001

0386 Gt:152 Jungle Bass SBS 087 067 002

0387 Gt:153 R&B Bass 7 SBS 087 067 003

0388 Gt:154 Simply Basic SBS 087 067 004

0389 Gt:155 Beepin Bass SBS 087 067 005

0390 Gt:156 MC-TB Bass SBS 087 067 006

0391 Gt:157 Acdg Bass SBS 087 067 007

0392 Gt:158 Loco Voco SBS 087 067 008

0393 Gt:159 Unplug it! SBS 087 067 009

0394 Gt:160 S&H Bass SBS 087 067 010

0395 Gt:161 Destroyed Bs SBS 087 067 011

0396 Gt:162 Lo-Fi TB SBS 087 067 012

0397 Gt:163 Drop Bass SBS 087 067 013

0398 Gt:164 Big Mini 3 SBS 087 067 014

0399 Gt:165 Mued MG SBS 087 067 015

0400 Gt:166 Intrusive Bs SBS 087 067 016

0401 Gt:167 Alpha SynBs3 SBS 087 067 017

0402 Gt:168 TransistorBs SBS 087 067 018

0403 Gt:169 JUNO-60 Bass SBS 087 067 019

0404 Gt:170 Storm Bass SBS 087 067 020

0405 Gt:171 Alpha ResoBs SBS 087 067 021

0406 Gt:172 SH-101 Vibe SBS 087 067 022

0407 Gt:173 Fazee Bass SBS 087 067 023

0408 Gt:174 Hi-Energy Bs SBS 087 067 024

0409 Gt:175 Low Nz Bass SBS 087 067 025

0410 Oc:001 String Ens STR 087 067 026

0411 Oc:002 JUNO Strings STR 087 067 027

0412 Oc:003 Chamber Str1 STR 087 067 028

0413 Oc:004 Chamber Str2 STR 087 067 029

0414 Oc:005 Staccato STR 087 067 030

0415 Oc:006 Pizzicato STR 087 067 031

0416 Oc:007 Pizz/Stacc STR 087 067 032

0417 Oc:008 Sahara Str STR 087 067 033

0418 Oc:009 Random Mood STR 087 067 034

0419 Oc:010 X Hall Str STR 087 067 035

0420 Oc:011 DelayQuartet STR 087 067 036

0421 Oc:012 Pop Str 1 STR 087 067 037

0422 Oc:013 Pop Str 2 STR 087 067 038

0423 Oc:014 Pop Str 3 STR 087 067 039

0424 Oc:015 WhiteStrings STR 087 067 040

0425 Oc:016 JV Strings STR 087 067 041

0426 Oc:017 Marcato STR 087 067 042

0427 Oc:018 Strings 1 STR 087 067 043

0428 Oc:019 Strings 2 STR 087 067 044

0429 Oc:020 Stringz 101 STR 087 067 045

0430 Oc:021 Crossed Bows STR 087 067 046

0431 Oc:022 Small Str STR 087 067 047

0432 Oc:023 Warm Strings STR 087 067 048

0433 Oc:024

0434 Oc:025 DynaStrSect2 STR 087 067 050

0435 Oc:026 Full Strings STR 087 067 051

0436 Oc:027 X StrSection STR 087 067 052

0437 Oc:028 Oct Strings STR 087 067 053

0438 Oc:029 Strings 3 STR 087 067 054

0439 Oc:030 Monkey Str STR 087 067 055

0440 Oc:031 Hybrid Str 1 STR 087 067 056

0441 Oc:032 Hybrid Str 2 STR 087 067 057

0442 Oc:033 Biggie Bows STR 087 067 058

0443 Oc:034 Str Stacc mp STR 087 067 059

0444 Oc:035 So Staccato STR 087 067 060

0445 Oc:036 Long/Stacc STR 087 067 061

0446 Oc:037 Pizz/Long STR 087 067 062

0447 Oc:038 Vls PizzHall STR 087 067 063

0448 Oc:039 DelicatePizz STR 087 067 064

0449 Oc:040 Orch Pizz STR 087 067 065

0450 Oc:041 BrightViolin STR 087 067 066

0451 Oc:042 Bright Cello STR 087 067 067

0452 Oc:043 Gang Strangs STR 087 067 068

0453 Oc:044 Clustered!?! STR 087 067 069

0454 Oc:045 Movie Scene STR 087 067 070

0455 Oc:046 Mellow Tron STR 087 067 071

0456 Oc:047 Tronic Str STR 087 067 072

0457 Oc:048 Wind & Str 1 ORC 087 067 073

DynaStrSect1 STR 087 067 049

Sub-category

MSB LSB PC

69

Patch List

No. Name

0458 Oc:049 Wind & Str 2 ORC 087 067 074

0459 Oc:050 Farewell ORC 087 067 075

0460 Oc:051 Orch & Horns ORC 087 067 076

0461 Oc:052 Soft Orch 1 OR C 087 067 077

0462 Oc:053 Soft Orch 2 OR C 087 067 078

0463 Oc:054 Henry IX ORC 087 067 079

0464 Oc:055 Ending Scene ORC 087 067 080

0465 Oc:056 Symphonika ORC 087 067 081

0466 Oc:057 Cheezy Movie HIT 087 067 082

0467 Oc:058 Philly Hit HIT 087 067 083

0468 Oc:059 Smear Hit 1 HIT 087 067 084

0469 Oc:060 Smear Hit 2 HIT 087 067 085

0470 Oc:061 Good Old Hit HIT 087 067 086

0471 Oc:062 Mix Hit 1 HIT 087 067 087

0472 Oc:063 Mix Hit 2 HIT 087 067 088

0473 Oc:064 Lo-Fi Hit HIT 087 067 089

0474 Oc:065 2ble Action HIT 087 067 090

0475 Oc:066 In da Cave HIT 087 067 091

0476 Oc:067 Housechord HIT 087 067 092

0477 Oc:068 Mod Chord HIT 087 067 093

0478 Oc:069 Dance Steam HIT 087 067 094

0479 Br:001 Bright Brass BRS 087 067 095

0480 Br:002 BreakOut Brs BRS 087 067 096

0481 Br:003 StackTp Sect BRS 087 067 097

0482 Br:004 Tb Section BRS 087 067 098

0483 Br:005 TpTb Sect. BRS 087 067 099

0484 Br:006 Brass Sect 1 BRS 087 067 100

0485 Br:007 Brass Sect 2 BRS 087 067 101

0486 Br:008 Brass & Sax BRS 087 067 102

0487 Br:009 Simple Tutti BRS 087 067 103

0488 Br:010 Tpts & Tmbs BRS 087 067 104

0489 Br:011 BrassPartOut BRS 087 067 105

0490 Br:012 Full sForza BRS 087 067 106

0491 Br:013 Stereo Brass BRS 087 067 107

0492 Br:014 F.Horns Sect BRS 087 067 108

0493 Br:015 Solo Tp BRS 087 067 109

0494 Br:016 Ambi Tp BRS 087 067 110

0495 Br:017 Horn Chops BRS 087 067 111

0496 Br:018 Mute Tp BRS 087 067 112

0497 Br:019 Harmon Mute BRS 087 067 113

0498 Br:020 Soft Tb BRS 087 067 114

0499 Br:021 Solo Tb BRS 087 067 115

0500 Br:022 Solo Bone BRS 087 067 116

0501 Br:023 Flugel Horn BRS 087 067 117

0502 Br:024 Spit Flugel BRS 087 067 118

0503 Br:025 XP Horn BRS 087 067 119

0504 Br:026 Grande Tuba BRS 087 067 120

0505 Br:027 JUNO Tuba BRS 087 067 121

0506 Br:028 80s Brass 1 SBR 087 067 122

0507 Br:029 Wide Syn Brs SBR 087 067 123

0508 Br:030 Poly Brass SBR 087 067 124

0509 Br:031 JP8000 Brass SBR 087 067 125

0510 Br:032 JUNO Brass SBR 087 067 126

0511 Br:033 DetuneSawBrs SBR 087 067 127

0512 Br:034 J-Pop Brass SBR 087 067 128

0513 Br:035 80s Brass 2 SBR 087 068 001

0514 Br:036

0515 Br:037 80s Brass 4 SBR 087 068 003

0516 Br:038 80s Brass 5 SBR 087 068 004

0517 Br:039 Ana Brass SBR 087 068 005

0518 Br:040 Soft Brass SBR 087 068 006

0519 Br:041 Ox Brass SBR 087 068 007

0520 Br:042 Syn Brass 1 SBR 087 068 008

0521 Br:043 Syn Brass 2 SBR 087 068 009

0522 Br:044 Xpand Brass1 SBR 087 068 010

0523 Br:045 Xpand Brass2 SBR 087 068 011

0524 Br:046 Super Saw SBR 087 068 012

0525 Br:047 SoftSynBrass SBR 087 068 013

0526 Br:048 Windy Synth SBR 087 068 014

0527 Br:049 Silky JP SBR 087 068 015

0528 Br:050 Silk Brs Pad SBR 087 068 016

0529 Br:051 X-Saw Brass SBR 087 068 017

0530 Br:052 Cheesy Brass SBR 087 068 018

0531 Br:053 Dual Saw Brs SBR 087 068 019

0532 Br:054 JUNO-106 Brs SBR 087 068 020

0533 Br:055 BreakOut Key SBR 087 068 021

0534 Br:056 Stacked Brs SBR 087 068 022

0535 Br:057 Sax Sect. 1 SAX 087 068 023

0536 Br:058 Sax Sect. 2 SAX 087 068 024

0537 Br:059 Horny Sax SAX 087 068 025

0538 Br:060 JUNO Sop Sax SAX 087 068 026

80s Brass 3 SBR 087 068 002

Sub-category

MSB LSB PC

No. Name

0539 Br:061 Solo Sop Sax SAX 087 068 027

0540 Br:062 JUNO AltoSax SAX 087 068 028

0541 Br:063 AltoLead Sax SAX 087 068 029

0542 Br:064 FXM Alto Sax S AX 087 068 030

0543 Br:065 XP TnrBrethy SAX 087 068 031

0544 Br:066 JUNO Tnr Sax SAX 087 068 032

0545 Br:067 Fat TenorSax SAX 087 068 033

0546 Br:068 JUNO BariSax SAX 087 068 034

0547 Br:069 JUNO Flute FLT 087 068 035

0548 Br:070 JUNO Piccolo F LT 087 068 036

0549 Br:071 Clarence.net WND 087 068 037

0550 Br:072 JUNO Oboe WND 087 068 038

0551 Br:073 JUNO E.Horn WND 087 068 039

0552 Br:074 JUNO Bassoon WND 087 068 040

0553 Br:075 Good Old Day WND 087 068 041

0554 Br:076 WindWood WND 087 068 042

0555 Sy:001 Porta Lead 1 HLD 087 068 043

0556 Sy:002 Porta Lead 2 HLD 087 068 044

0557 Sy:003 Solo Saw Ld HLD 087 068 045

0558 Sy:004 Wind Syn Ld HLD 087 068 046

0559 Sy:005 GR Lead 1 HLD 087 068 047

0560 Sy:006 Sync Lead HLD 087 068 048

0561 Sy:007 JupiterLead1 HLD 087 068 049

0562 Sy:008 Alpha Spit 1 HLD 087 068 050

0563 Sy:009 Pro Fat Ld HLD 087 068 051

0564 Sy:010 Saw Lead 1 HLD 087 068 052

0565 Sy:011 Saw Lead 2 HLD 087 068 053

0566 Sy:012 Saw Lead 3 HLD 087 068 054

0567 Sy:013 Saw Lead 4 HLD 087 068 055

0568 Sy:014 Saw Lead 5 HLD 087 068 056

0569 Sy:015 Saw Lead 6 HLD 087 068 057

0570 Sy:016 JUNO Lead HLD 087 068 058

0571 Sy:017 Jump Poly HLD 087 068 059

0572 Sy:018 Octa Juice HLD 087 068 060

0573 Sy:019 Octa Saw HLD 087 068 061

0574 Sy:020 Octa Sync 1 HLD 087 068 062

0575 Sy:021 Octa Sync 2 HLD 087 068 063

0576 Sy:022 Hot Sync HLD 087 068 064

0577 Sy:023 Hot Coee HLD 087 068 065

0578 Sy:024 Phase Lead HLD 087 068 066

0579 Sy:025 Waspy Lead 1 HLD 087 068 067

0580 Sy:026 Follow Me 1 HLD 087 068 068

0581 Sy:027 Follow Me 2 HLD 087 068 069

0582 Sy:028 Classic Ld 1 HLD 087 068 070

0583 Sy:029 Classic Ld 2 HLD 087 068 071

0584 Sy:030 Digi Lead 1 HLD 087 068 072

0585 Sy:031 Digi Lead 2 HLD 087 068 073

0586 Sy:032 DC Triangle HLD 087 068 074

0587 Sy:033 Sqr-Seqence HLD 087 068 075

0588 Sy:034 Pure Square HLD 087 068 076

0589 Sy:035 Griggley HLD 087 068 077

0590 Sy:036 Legato Saw HLD 087 068 078

0591 Sy:037 Dual Profs HLD 087 068 079

0592 Sy:038 Gwyo Press HLD 087 068 080

0593 Sy:039 Q DualSaws HLD 087 068 081

0594 Sy:040 Mogulator Ld HLD 087 068 082

0595 Sy:041

0596 Sy:042 Clean? HLD 087 068 084

0597 Sy:043 Distortion HLD 087 068 085

0598 Sy:044 Syn Lead 1 HLD 087 068 086

0599 Sy:045 Syn Lead 2 HLD 087 068 087

0600 Sy:046 X-Sink Delay HLD 087 068 088

0601 Sy:047 Destroyed Ld HLD 087 068 089

0602 Sy:048 Synchro Lead HLD 087 068 090

0603 Sy:049 Sync Tank HLD 087 068 091

0604 Sy:050 Sync Ld Mono HLD 087 068 092

0605 Sy:051 SyncModulate HLD 087 068 093

0606 Sy:052 2krazy Brite HLD 087 068 094

0607 Sy:053 Distorted MG HLD 087 068 095

0608 Sy:054 Dist Lead HLD 087 068 096

0609 Sy:055 Ringmod Lead HLD 087 068 097

0610 Sy:056 BodyElectric HLD 087 068 098

0611 Sy:057 SonicVampire HLD 087 068 099

0612 Sy:058 Stimulation HLD 087 068 100

0613 Sy:059 Wire Sync HLD 087 068 101

0614 Sy:060 Epic Lead HLD 087 068 102

0615 Sy:061 Bag Lead HLD 087 068 103

0616 Sy:062 Wezcoast HLD 087 068 104

0617 Sy:063 HyperJupiter HLD 087 068 105

0618 Sy:064 Vintagolizer HLD 087 068 106

0619 Sy:065 C64 Lead HLD 087 068 107

DirtyVoltage HLD 087 068 083

Sub-category

MSB LSB PC

70

Patch List

No. Name

0620 Sy:066 303 NRG HLD 087 068 108

0621 Sy:067 Feat Lead HLD 087 068 109

0622 Sy:068 Cell SquLead SLD 087 068 110

0623 Sy:069 Theramax 1 SLD 087 068 111

0624 Sy:070 Pulse Lead 1 SLD 087 068 112

0625 Sy:071 Pulse Lead 2 SLD 087 068 113

0626 Sy:072 Mid Saw Ld SLD 087 068 114

0627 Sy:073 On Air SLD 087 068 115

0628 Sy:074 Tri Lead 1 SLD 087 068 116

0629 Sy:075 Tri Lead 2 SLD 087 068 117

0630 Sy:076 Sine Lead 1 SLD 087 068 118

0631 Sy:077 Sine Lead 2 SLD 087 068 119

0632 Sy:078 Sqr Lead 1 SLD 087 068 120

0633 Sy:079 Sqr Lead 2 SLD 087 068 121

0634 Sy:080 SH Sqr Lead SLD 087 068 122

0635 Sy:081 Sinetic SLD 087 068 123

0636 Sy:082 JUNO Soft Ld SLD 087 068 124

0637 Sy:083 Spooky Lead SLD 087 068 125

0638 Sy:084 PeakArpSine SLD 087 068 126

0639 Sy:085 Howards Lead SLD 087 068 127

0640 Sy:086 SoloNzPeaker SLD 087 068 128

0641 Sy:087 R&B Tri Ld 1 SLD 087 069 001

0642 Sy:088 R&B Tri Ld 2 SLD 087 069 002

0643 Sy:089 JupiterLead2 SLD 087 069 003

0644 Sy:090 JupiterLead3 SLD 087 069 004

0645 Sy:091 Dig-n-Duke SLD 087 069 005

0646 Sy:092 Sqr Diamond SLD 087 069 006

0647 Sy:093 Soft Lead SLD 087 069 007

0648 Sy:094 Soft Saw Ld SLD 087 069 008

0649 Sy:095 X-Pulse Lead SLD 087 069 009

0650 Sy:096 Mild 2-SawLd SLD 087 069 010

0651 Sy:097 Mew Lead SLD 087 069 011

0652 Sy:098 Shy Soloist SLD 087 069 012

0653 Sy:099 Theramax 2 SLD 087 069 013

0654 Sy:100 Therasqu SLD 087 069 014

0655 Sy:101 GR Lead 2 SLD 087 069 015

0656 Sy:102 SH-2 Lead SLD 087 069 016

0657 Sy:103 Jucy Saw SLD 087 069 017

0658 Sy:104 Reso Lead SLD 087 069 018

0659 Sy:105 Modulated Ld SLD 087 069 019

0660 Sy:106 Synthi Fizz SLD 087 069 020

0661 Sy:107 Waspy Lead 2 SLD 087 069 021

0662 Sy:108 Pulstar Ld SLD 087 069 022

0663 Sy:109 Naked Lead SLD 087 069 023

0664 Sy:110 Alpha Spit 2 SLD 087 069 024

0665 Sy:111 JP Saw Lead SLD 087 069 025

0666 Sy:112 Violin Lead SLD 087 069 026

0667 Sy:113 Mod Lead SLD 087 069 027

0668 Sy:114 Tristar SLD 087 069 028

0669 Sy:115 Chubby Lead SLD 087 069 029

0670 Sy:116 Sneaky Leady SLD 087 069 030

0671 Sy:117 Shaku Lead SLD 087 069 031

0672 Sy:118 Legato Tkno SLD 087 069 032

0673 Sy:119 Reso Saw Ld SLD 087 069 033

0674 Sy:120 SliCed Lead SLD 087 069 034

0675 Sy:121 Mini Growl SLD 087 069 035

0676 Sy:122

0677 Sy:123 Air Lead SLD 087 069 037

0678 Sy:124 Stacc Heaven SYN 087 069 038

0679 Sy:125 Sugar Synth SYN 087 069 039

0680 Sy:126 Synth Key SYN 087 069 040

0681 Sy:127 Frontier Syn SYN 087 069 041

0682 Sy:128 Summer Str SYN 087 069 042

0683 Sy:129 JUNO Poly SYN 087 069 043

0684 Sy:130 SuperSawSlow SYN 087 069 044

0685 Sy:131 Cue Tip SYN 087 069 045

0686 Sy:132 Waspy Synth SYN 087 069 046

0687 Sy:133 Europe Xpres SYN 087 069 047

0688 Sy:134 Squeepy SYN 087 069 048

0689 Sy:135 DOC Stack SYN 087 069 049

0690 Sy:136 Sweep Lead SYN 087 069 050

0691 Sy:137 80s Saws 1 SYN 087 069 051

0692 Sy:138 80s Saws 2 SYN 087 069 052

0693 Sy:139 80s Saws 3 SYN 087 069 053

0694 Sy:140 Digitaless SYN 087 069 054

0695 Sy:141 Flip Pad SYN 087 069 055

0696 Sy:142 Short Detune SYN 087 069 056

0697 Sy:143 forSequence SYN 087 069 057

0698 Sy:144 Memor y Pluck SYN 087 069 058

0699 Sy:145 Metalic Bass SYN 087 069 059

0700 Sy:146 Aqua SYN 087 069 060

Evangelized SLD 087 069 036

Sub-category

MSB LSB PC

No. Name

0701 Sy:147 Round SQR SYN 087 069 061

0702 Sy:148 Big Planet SYN 087 069 062

0703 Sy:149 Wet Atax SYN 087 069 063

0704 Sy:150 Houze Clavi SYN 087 069 064

0705 Sy:151 Saw Stack SYN 087 069 065

0706 Sy:152 Frgile Saws SYN 087 069 066

0707 Sy:153 Steamed Sawz SYN 087 069 067

0708 Sy:154 RAVtune SYN 087 069 068

0709 Sy:155 Bustranza SYN 087 069 069

0710 Sy:156 Digi Saw Syn SYN 087 069 070

0711 Sy:157 JP OctAttack SYN 087 069 071

0712 Sy:158 Oct Unison SYN 087 069 072

0713 Sy:159 Xtatic SYN 087 069 073

0714 Sy:160 Dirt y Combo SYN 087 069 074

0715 Sy:161 FM's Attack SYN 087 069 075

0716 Sy:162 Digi-vox Syn SYN 087 069 076

0717 Sy:163 Fairy Factor SYN 087 069 077

0718 Sy:164 Tempest SYN 087 069 078

0719 Sy:165 X-Racer SYN 087 069 079

0720 Sy:166 TB Booster SYN 087 069 080

0721 Sy:167 Syn-Orch/Mod SYN 087 069 081

0722 Sy:168 Pressyn SYN 087 069 082

0723 Sy:169 High Five SYN 087 069 083

0724 Sy:170 Magnetic 5th SYN 087 069 084

0725 Sy:171 DigimaX SYN 087 069 085

0726 Sy:172 Exhale SYN 087 069 086

0727 Sy:173 X-panda SYN 087 069 087

0728 Sy:174 Saw Keystep SYN 087 069 088

0729 Sy:175 Blue Meanie SYN 087 069 089

0730 Sy:176 4mant Cycle SYN 087 069 090

0731 Sy:177 Modular SYN 087 069 091

0732 Sy:178 Analog Dream SYN 087 069 092

0733 Sy:179 DCO Bell Pad SYN 087 069 093

0734 Sy:180 Cell Fanta SYN 087 069 094

0735 Sy:181 JUNO 5th SYN 087 069 095

0736 Sy:182 DoubleBubble SYN 087 069 096

0737 Sy:183 JUNO-D Maj7 TEK 087 069 097

0738 Sy:184 Sweet House TEK 087 069 098

0739 Sy:185 Periscope TEK 087 069 099

0740 Sy:186 5th Voice TEK 087 069 100

0741 Sy:187 HPF Sweep TEK 087 069 101

0742 Sy:188 BPF Saw TEK 087 069 102

0743 Sy:189 Moon Synth TEK 087 069 103

0744 Sy:190 DelyResoSaws TEK 087 069 104

0745 Sy:191 JUNO Trance1 TEK 087 069 105

0746 Sy:192 Trancy Synth TEK 087 069 106

0747 Sy:193 Cell Trance TEK 087 069 107

0748 Sy:194 Trancy X TEK 087 069 108

0749 Sy:195 JUNO Trance2 TEK 087 069 109

0750 Sy:196 R-Trance TEK 087 069 110

0751 Sy:197 Braatz... TEK 087 069 111

0752 Sy:198 AllinOneRi TEK 087 069 112

0753 Sy:199 YZ Again TEK 087 069 113

0754 Sy:200 Flazzy Lead TEK 087 069 114

0755 Sy:201 Coee Bee TEK 087 069 115

0756 Sy:202 TB-Sequence TEK 087 069 116

0757 Sy:203

0758 Sy:204 Dance Saws TEK 087 069 118

0759 Sy:205 AluminmWires TEK 087 069 119

0760 Sy:206 Fred&Barney TEK 087 069 120

0761 Sy:207 Electrostars TEK 087 069 121

0762 Sy:208 LoFiSequence TEK 087 069 122

0763 Sy:209 MelodicDrums TEK 087 069 123

0764 Sy:210 Monkey Arpg TEK 087 069 124

0765 Sy:211 TB Wah TEK 087 069 125

0766 Sy:212 Waving TB303 TEK 087 069 126

0767 Sy:213 Digi Seq TEK 087 069 127

0768 Sy:214 Seq Saw TEK 087 069 128

0769 Sy:215 Reso Seq Saw TEK 087 070 001

0770 Sy:216 DetuneSeqSaw TEK 087 070 002

0771 Sy:217 Technotribe TEK 087 070 003

0772 Sy:218 Teethy Grit TEK 087 070 004

0773 Sy:219 Repertition TEK 087 070 005

0774 Sy:220 Killerbeez TEK 087 070 006

0775 Sy:221 Acid Lead TEK 087 070 007

0776 Sy:222 Tranceformer TEK 087 070 008

0777 Sy:223 Anadroid TEK 087 070 009

0778 Sy:224 Shroomy TEK 087 070 010

0779 Sy:225 Noize R us TEK 087 070 011

0780 Sy:226 Beep Melodie TEK 087 070 012

0781 Sy:227 Morpher TEK 087 070 013

SC-303 TEK 087 069 117

Sub-category

MSB LSB PC

71

Patch List

No. Name

0782 Sy:228 Power Synth TEK 087 070 014

0783 Sy:229 Hoover Again TEK 087 070 015

0784 Sy:230 Alpha Said.. TEK 087 070 016

0785 Sy:231 Ravers Awake TEK 087 070 017

0786 Sy:232 Tekno Gargle TEK 087 070 018

0787 Sy:233 Tranceiver TEK 087 070 019

0788 Sy:234 Techno Dream TEK 087 070 020

0789 Sy:235 Techno Pizz TEK 087 070 021

0790 Sy:236 VirtualHuman PLS 087 070 022

0791 Sy:237 Strobot PLS 087 070 023

0792 Sy:238 Strobe PLS 087 070 024

0793 Sy:239 Strobe X PLS 087 070 025

0794 Sy:240 Mr. Fourier PLS 087 070 026

0795 Sy:241 Rhythmic 5th PLS 087 070 027

0796 Sy:242 Sorr y4theDLY PLS 087 070 028

0797 Sy:243 Cell Pad PLS 087 070 029

0798 Sy:244 Shape of X PLS 087 070 030

0799 Sy:245 ShapeURMusic PLS 087 070 031

0800 Sy:246 Synth Force PLS 087 070 032

0801 Sy:247 Trance Split PLS 087 070 033

0802 Sy:248 Step Trance PLS 087 070 034

0803 Sy:249 Chop Synth PLS 087 070 035

0804 Sy:250 Euro Teuro PLS 087 070 036

0805 Sy:251 Auto Trance1 PLS 087 070 037

0806 Sy:252 Eureggae PLS 087 070 038

0807 Sy:253 Beat Pad PLS 087 070 039

0808 Sy:254 TMT Seq Pad PLS 087 070 040

0809 Sy:255 ForYourBreak PLS 087 070 041

0810 Sy:256 HPF Slicer PLS 087 070 042

0811 Sy:257 Sliced Choir PLS 087 070 043

0812 Sy:258 Digi-Doo PLS 087 070 044

0813 Sy:259 PanningFrmnt PLS 087 070 045

0814 Sy:260 Dirt y Beat PLS 087 070 046

0815 Sy:261 Electrons PLS 087 070 047

0816 Sy:262 Protons PLS 087 070 048

0817 Sy:263 Brisk Vortex PLS 087 070 049

0818 Sy:264 Throbulax PLS 087 070 050

0819 Sy:265 Lonizer PLS 087 070 051

0820 Sy:266 diGital Pad PLS 087 070 052

0821 Sy:267 StepPitShift PLS 087 070 053

0822 Sy:268 Pad Pulses PLS 087 070 054

0823 Sy:269 Seq-Pad 1 PLS 087 070 055

0824 Sy:270 DSP Chaos PLS 087 070 056

0825 Sy:271 Dance oor PLS 087 070 057

0826 Sy:272 Minor Thirds PLS 087 070 058

0827 Sy:273 FX World PLS 087 070 059

0828 Sy:274 Nu Trance X PLS 087 070 060

0829 Sy:275 Auto 5thSaws PLS 087 070 061

0830 Sy:276 Cross Talk PLS 087 070 062

0831 Sy:277 Reanimation PLS 087 070 063

0832 Sy:278 VoX Chopper PLS 087 070 064

0833 Sy:279 Trevor's Pad PLS 087 070 065

0834 Sy:280 Fantomas Pad PLS 087 070 066

0835 Sy:281 Jazzy Arps PLS 087 070 067

0836 Sy:282 Keep Running PLS 087 070 068

0837 Sy:283 Step In PLS 087 070 069

0838 Sy:284

0839 Sy:285 Keep going PLS 087 070 071

0840 Sy:286 Arposphere PLS 087 070 072

0841 Sy:287 Voco Ri PLS 087 070 073

0842 Sy:288 Pulsator PLS 087 070 074

0843 Sy:289 Motion Bass PLS 087 070 075

0844 Sy:290 Sine Magic PLS 087 070 076

0845 Sy:291 JUNO-D Slice PLS 087 070 077

0846 Sy:292 Pulsatron PLS 087 070 078

0847 Sy:293 Mega Sync PLS 087 070 079

0848 Sy:294 Passing by FX 087 070 080

0849 Sy:295 Lazer Points FX 087 070 081

0850 Sy:296 Retro Sci-Fi FX 087 070 082

0851 Sy:297 Magic Chime FX 087 070 083

0852 Sy:298 Try This! FX 087 070 084

0853 Sy:299 New Planetz FX 087 070 085

0854 Sy:300 Jet Noise FX 087 070 086

0855 Sy:301 Chaos 2003 FX 087 070 087

0856 Sy:302 Control Room FX 087 070 088

0857 Sy:303 OutOf sor tz FX 087 070 089

0858 Sy:304 Scatter FX 087 070 090

0859 Sy:305 Low Beat-S FX 087 070 091

0860 Sy:306 WaitnOutside FX 087 070 092

0861 Sy:307 Breath Echo FX 087 070 093

0862 Sy:308 SoundStrange FX 087 070 094

Echo Echo PLS 087 070 070

Sub-category

MSB LSB PC

No. Name

0863 Sy:309 Cosmic Pulse FX 087 070 095

0864 Sy:310 Faked Piano FX 087 070 096

0865 Sy:311 JUNO Crystal FX 087 070 097

0866 Sy:312 ResoSweep Dn FX 087 070 098

0867 Sy:313 Zap B3 & C4 FX 087 070 099

0868 Sy:314 PolySweep Nz FX 087 070 100

0869 Sy:315 Strange Land FX 087 070 101

0870 Sy:316 S&H Voc FX 087 070 102

0871 Sy:317 12th Planet FX 087 070 103

0872 Sy:318 Scare FX 087 070 104

0873 Sy:319 Hillside FX 087 070 105

0874 Sy:320 Mod Scanner FX 087 070 106

0875 Sy:321 SoundOnSound FX 087 070 107

0876 Sy:322 Gasp FX 087 070 108

0877 Sy:323 ResoSweep Up FX 087 070 109

0878 Sy:324 Magic Wave FX 087 070 110

0879 Sy:325 Shangri-La FX 087 070 111

0880 Sy:326 CerealKiller FX 087 070 112

0881 Sy:327 Cosmic Drops FX 087 070 113

0882 Sy:328 Space Echo FX 087 070 114

0883 Sy:329 Robot Sci-Fi FX 087 070 115

0884 Vo:001 Jazz Scat VOX 087 070 116

0885 Vo:002 Jazz Doos VOX 087 070 117

0886 Vo:003 Choir Aahs 1 VOX 087 070 118

0887 Vo:004 Choir Aahs 2 VOX 087 070 119

0888 Vo:005 Choir Oohs VOX 087 070 120

0889 Vo:006 AngelsChoir1 VOX 087 070 121

0890 Vo:007 AngelsChoir2 VOX 087 070 122

0891 Vo:008 Syn Opera VOX 087 070 123

0892 Vo:009 Angelique VOX 087 070 124

0893 Vo:010 Vox Pad 1 VOX 087 070 125

0894 Vo:011 Vox Pad 2 VOX 087 070 126

0895 Vo:012 Gospel Oohs VOX 087 070 127

0896 Vo:013 Choir&Str VOX 087 070 128

0897 Vo:014 SynVox 1 VOX 087 071 001

0898 Vo:015 SynVox 2 VOX 087 071 002

0899 Vo:016 Aah Vox VOX 087 071 003

0900 Vo:017 Sweet Keys VOX 087 071 004

0901 Vo:018 JUNO Synvox VOX 087 071 005

0902 Vo:019 Uhmmm VOX 087 071 006

0903 Vo:020 Morning Star VOX 087 071 007

0904 Vo:021 BeautifulOne VOX 087 071 008

0905 Vo:022 Ooze VOX 087 071 009

0906 Vo:023 Aerial Choir VOX 087 071 010

0907 Vo:024 3D Vox VOX 087 071 011

0908 Vo:025 Sample Opera VOX 087 071 012

0909 Vo:026 Film Cue VOX 087 071 013

0910 Vo:027 Paradise VOX 087 071 014

0911 Vo:028 Sad ceremony VOX 087 071 015

0912 Vo:029 Lost Voices VOX 087 071 016

0913 Vo:030 Beat Vox VOX 087 071 017

0914 Vo:031 Talk 2 Me VOX 087 071 018

0915 Vo:032 FM Vox VOX 087 071 019

0916 Vo:033 Let's Talk! V OX 087 071 020

0917 Vo:034 Voc:Di Robt V OX 087 071 021

0918 Vo:035 Voc:Di Chr VOX 087 071 022

0919 Vo:036

0920 Vo:037 Cosmic Rays BPD 087 071 024

0921 Vo:038 Phaser Pad 1 BPD 087 071 025

0922 Vo:039 PhaseStrings BPD 087 071 026

0923 Vo:040 Super SynStr BPD 087 071 027

0924 Vo:041 80s Str 1 BPD 087 071 028

0925 Vo:042 80s Str 2 BPD 087 071 029

0926 Vo:043 BreakOut Str BPD 087 071 030

0927 Vo:044 Frends Syn BPD 087 071 031

0928 Vo:045 Comb BPD 087 071 032

0929 Vo:046 Voyager BPD 087 071 033

0930 Vo:047 Stringship BPD 087 071 034

0931 Vo:048 DarknessSide BPD 087 071 035

0932 Vo:049 Fat Stacks BPD 087 071 036

0933 Vo:050 Strings R Us BPD 087 071 037

0934 Vo:051 Electric Pad BPD 087 071 038

0935 Vo:052 Neo RS-202 BPD 087 071 039

0936 Vo:053 OB Rezo Pad BPD 087 071 040

0937 Vo:054 Synthi Ens BPD 087 071 041

0938 Vo:055 Giant Sweep BPD 087 071 042

0939 Vo:056 Mod Dare BPD 087 071 043

0940 Vo:057 Cell Space BPD 087 071 044

0941 Vo:058 Digi-Swell BPD 087 071 045

0942 Vo:059 New Year Day BPD 087 071 046

0943 Vo:060 Polar Morn BPD 087 071 047

Voc:Di Ens VOX 087 071 023

Sub-category

MSB LSB PC

72

Patch List

No. Name

0944 Vo:061 Distant Sun BPD 087 071 048

0945 Vo:062 PG Chimes BPD 087 071 049

0946 Vo:063 Saturn Rings BPD 087 071 050

0947 Vo:064 Brusky BPD 087 071 051

0948 Vo:065 2.2 Pad 1 BPD 087 071 052

0949 Vo:066 2.2 Pad 2 BPD 087 071 053

0950 Vo:067 2.2 Pad 3 BPD 087 071 054

0951 Vo:068 SaturnHolida BPD 087 071 055

0952 Vo:069 Neuro-Drone BPD 087 071 056

0953 Vo:070 In The Pass BPD 087 071 057

0954 Vo:071 Polar Night BPD 087 071 058

0955 Vo:072 Cell 5th BPD 087 071 059

0956 Vo:073 MistOver5ths BPD 087 071 060

0957 Vo:074 Gritty Pad BPD 087 071 061

0958 Vo:075 India Garden BPD 087 071 062

0959 Vo:076 BillionStars BPD 087 071 063

0960 Vo:077 Sand Pad BPD 087 071 064

0961 Vo:078 ReverseSweep BPD 087 071 065

0962 Vo:079 HugeSoundMod BPD 087 071 066

0963 Vo:080 Metal Swell BPD 087 071 067

0964 Vo:081 NuSoundtrack BPD 087 071 068

0965 Vo:082 Phat Strings BPD 087 071 069

0966 Vo:083 Hollow SPD 087 071 070

0967 Vo:084 Heaven Pad SPD 087 071 071

0968 Vo:085 Soft OB Pad SPD 087 071 072

0969 Vo:086 Reso Pad SPD 087 071 073

0970 Vo:087 Slow Saw Str SPD 087 071 074

0971 Vo:088 Terra Nostra SPD 087 071 075

0972 Vo:089 Summer Pad SPD 087 071 076

0973 Vo:090 Frends Pad SPD 087 071 077

0974 Vo:091 Pop Pad SPD 087 071 078

0975 Vo:092 Sqr Pad SPD 087 071 079

0976 Vo:093 Silk Pad SPD 087 071 080

0977 Vo:094 WarmReso Pad SPD 087 071 081

0978 Vo:095 Soft Pad SPD 087 071 082

0979 Vo:096 Air Pad SPD 087 071 083

0980 Vo:097 Soft Breeze SPD 087 071 084

0981 Vo:098 JP Strings 1 SPD 087 071 085

0982 Vo:099 JP Strings 2 SPD 087 071 086

0983 Vo:100 DelayStrings SPD 087 071 087

0984 Vo:101 NorthStrings SPD 087 071 088

0985 Vo:102 Syn Strings1 SPD 087 071 089

0986 Vo:103 Syn Strings2 SPD 087 071 090

0987 Vo:104 OB Strings 1 SPD 087 071 091

0988 Vo:105 OB Strings 2 SPD 087 071 092

0989 Vo:106 Strings Pad SPD 087 071 093

0990 Vo:107 R&B SoftPad SPD 087 071 094

0991 Vo:108 Phat Pad SPD 087 071 095

0992 Vo:109 Phaser Pad 2 SPD 087 071 096

0993 Vo:110 Mystic Str SPD 087 071 097

0994 Vo:111 Glass Organ SPD 087 071 098

0995 Vo:112 Wind Pad SPD 087 071 099

0996 Vo:113 Combination SPD 087 071 100

0997 Vo:114 HumanKindnes SPD 087 071 101

0998 Vo:115 Beauty Pad SPD 087 071 102

0999 Vo:116 Atmospherics SPD 087 071 103

1000 Vo:117

1001 Vo:118 Vulcano Pad SPD 087 071 105

1002 Vo:119 Cloud #9 SPD 087 071 106

1003 Vo:120 Organic Pad SPD 087 071 107

1004 Vo:121 Hum Pad SPD 087 071 108

1005 Vo:122 Vox Pad SPD 087 071 109

1006 Vo:123 Digital Aahs SPD 087 071 110

1007 Vo:124 Tri 5th Pad SPD 087 071 111

1008 Vo:125 Movin Pad SPD 087 071 112

1009 Vo:126 Seq-Pad 2 SPD 087 071 113

1010 Vo:127 Follow SPD 087 071 114

1011 Vo:128 Consolament SPD 087 071 115

1012 Vo:129 Spacious Pad SPD 087 071 116

1013 Vo:130 JD Pop Pad SPD 087 071 117

1014 Vo:131 JP-8 Phase SPD 087 071 118

1015 Vo:132 Nu Epic Pad SPD 087 071 119

1016 Vo:133 Flange Dream SPD 087 071 120

1017 Vo:134 Evolution X SPD 087 071 121

1018 Vo:135 Angelis Pad SPD 087 071 122

1019 Vo:136 JUNO-106 Str SPD 087 071 123

1020 Vo:137 JupiterMoves SPD 087 071 124

1021 Vo:138 Oceanic Pad SPD 087 071 125

1022 Vo:139 Fairy's Song SPD 087 071 126

1023 Vo:140 Borealis SPD 087 071 127

1024 Vo:141 JX Warm Pad SPD 087 071 128

OB Aaahs SPD 087 071 104

Sub-category

MSB LSB PC

No. Name

1025 Vo:142 Analog Bgrnd SPD 087 072 001

1026 Wr:001 Sitar on C PLK 087 072 002

1027 Wr:002 JUNO Sitar 1 PLK 087 072 003

1028 Wr:003 JUNO Sitar 2 PLK 087 072 004

1029 Wr:004 Sitar Baby PLK 087 072 005

1030 Wr:005 Neo Sitar PLK 087 072 006

1031 Wr:006 SaraswatiRvr PLK 087 072 007

1032 Wr:007 Teky Drop PLK 087 072 008

1033 Wr:008 TroubadorEns PLK 087 072 009

1034 Wr:009 Elec Sitar PLK 087 072 010

1035 Wr:010 Pat is away PLK 087 072 011

1036 Wr:011 Nice Kalimba PLK 087 072 012

1037 Wr:012 Quiet River PLK 087 072 013

1038 Wr:013 Aerial Harp PLK 087 072 014

1039 Wr:014 Harpiness PLK 087 072 015

1040 Wr:015 Skydiver PLK 087 072 016

1041 Wr:016 Jamisen PLK 087 072 017

1042 Wr:017 JUNO Koto PLK 087 072 018

1043 Wr:018 Monsoon PLK 087 072 019

1044 Wr:019 Bend Koto PLK 087 072 020

1045 Wr:020 JUNO Banjo FRT 087 072 021

1046 Wr:021 Pan Pipes E TH 087 072 022

1047 Wr:022 Andes Mood E TH 087 072 023

1048 Wr:023 LongDistance ETH 087 072 024

1049 Wr:024 Ambi Shaku ETH 087 072 025

1050 Wr:025 HimalayaPipe ETH 087 072 026

1051 Wr:026 Ethnic Lead ETH 087 072 027

1052 Wr:027 Lochscape ETH 087 072 028

1053 Wr:028 PipeDream ETH 087 072 029

1054 Wr:029 Angel Pipes ETH 087 072 030

1055 Wr:030 Far East ETH 087 072 031

1056 Wr:031 Wired Synth ETH 087 072 032

1057 Wr:032 4DaCommonMan ETH 087 072 033

1058 Wr:033 Orgaenia ETH 087 072 034

1059 Wr:034 Sleeper ETH 087 072 035

1060 Wr:035 Ice Palace ETH 087 072 036

1061 Wr:036 Story Harp ETH 087 072 037

1062 Wr:037 LostParadise ETH 087 072 038

1063 Wr:038 Timpani+Low PRC 087 072 039

1064 Wr:039 Timpani Roll PRC 087 072 040

1065 Wr:040 Bass Drum PRC 087 072 041

1066 Wr:041 Ambidextrous SFX 087 072 042

1067 Wr:042 En-co-re SFX 087 072 043

1068 Wr:043 Mobile Phone SFX 087 072 044

1069 Wr:044 ElectroDisco BTS 087 072 045

1070 Wr:045 Groove 007 BTS 087 072 046

1071 Wr:046 In Da Groove BTS 087 072 047

1072 Wr:047 Sweet 80s BTS 087 072 048

1073 Wr:048 Auto Trance2 BTS 087 072 049

1074 Wr:049 JUNO Pop BTS 087 072 050

1075 Wr:050 Compusonic 1 BTS 087 072 051

1076 Wr:051 Compusonic 2 BTS 087 072 052

1077 Wr:052 Mix Drum 1 DRM 087 072 053

1078 Wr:053 Mix Drum 2 DRM 087 072 054

1079 Wr:054 Lounge Kit CMB 087 072 055

1080 Wr:055 80s Combo CMB 087 072 056

1081 Wr:056

1082 Wr:057 Techno Craft CMB 087 072 058

1083 Sp:001 NylonGtr E4 SMP 087 072 059

1084 Sp:002 Pemade C5 SMP 087 072 060

1085 Sp:003 Shankh G#4 SMP 087 072 061

1086 Sp:004 RSS SpinnrC4 SMP 087 072 062

1087 SP:005 Come On! C4 SMP 087 072 063

1088 Sp:006 102:PhraseC4 SMP 087 072 064

Analog Days CMB 087 072 057

Sub-category

MSB LSB PC

73

Patch List

Bank: GM

No. Name

0001 Pf:111 Piano 1 PNO

0002 Pf:112 Piano 1w PNO

0003 Pf:113 European Pf PNO

0004 Pf:114 Piano 2 PNO

0005 Pf:115 Piano 2w PNO

0006 Pf:116 Piano 3 EP

0007 Pf:117 Piano 3w EP

0008 Pf:118 Honky-tonk PNO

0009 Pf:119 Honky-tonk 2 PNO

0010 Pf:120 E.Piano 1 EP 121 0 5

0011 Pf:121 St.Soft EP EP 121 1

0012 Pf:122 FM+SA EP EP 121 2

0013 Pf:123 Wurly EP 121 3

0014 Pf:124 E.Piano 2 EP 121 0 6

0015 Pf:125 Detuned EP 2 EP 121 1

0016 Pf:126 St.FM EP EP 121 2

0017 Pf:127 EP Legend EP 121 3

0018 Pf:128 EP Phase EP 121 4

0019 Ky:125 Harpsichord KEY 121 0 7

0020 Ky:126 Coupled Hps. KEY 121 1

0021 Ky:127 Harpsi.w KEY 121 2

0022 Ky:128 Harpsi.o KEY 121 3

0023 Ky:129 Cla v. KEY 121 0 8

0024 Ky:130 Pulse Clav KEY 121 1

0025 Ky:131 Celesta KEY 121 0 9

0026 Ky:132 Glockenspiel BEL 121 0 10

0027 Ky:133 Music Box BEL 121 0 11

0028 Ky:134 Vibraphone MLT 121 0 12

0029 Ky:135 Vibraphone w M LT 121 1

0030 Ky:136 Marimba M LT 121 0 13

0031 Ky:137 Marimba w M LT 121 1

0032 Ky:138 Xylophone M LT 121 0 14

0033 Ky:139 Tubular-bell BEL 121 0 15

0034 Ky:140 Church Bell BEL 121 1

0035 Ky:141 Carillon BEL 121 2

0036 Wr:058 Santur PLK 121 0 16

0037 Ky:142 Organ 1 ORG 121 0 17

0038 Ky:143 Trem. Organ ORG 121 1

0039 Ky:144 60’s Organ 1 ORG 121 2

0040 Ky:145 70’s E.Organ ORG 121 3

0041 Ky:146 Organ 2 ORG 121 0 18

0042 Ky:147 Chorus Or.2 ORG 121 1

0043 Ky:148 Perc. Organ ORG 121 2

0044 Ky:149 Organ 3 ORG 121 0 19

0045 Ky:150 Church Org.1 ORG 121 0 20

0046 Ky:151 Church Org.2 ORG 121 1

0047 Ky:152 Church Org.3 ORG 121 2

0048 Ky:153 Reed Organ ORG 121 0 21

0049 Ky:154 Pu Organ ORG 121 1

0050 Ky:155 Accordion Fr ACD 121 0 22

0051 Ky:156 Accordion It ACD 121 1

0052 Ky:157 Harmonica HRM 121 0 23

0053 Ky:158 Bandoneon ACD 121 0 24

0054 Gt:176 Nylon-str.Gt AGT 121 0 25

0055 Gt:177 Ukulele AGT 121 1

0056 Gt:178 Nylon Gt.o AGT 121 2

0057 Gt:179 Nylon Gt.2 AGT 121 3

0058 Gt:180 Steel-str.Gt AGT 121 0 26

0059 Gt:181 12-str.Gt AGT 121 1

0060 Gt:182 Mandolin AGT 121 2

0061 Gt:183 Steel + Body AGT 121 3

0062 Gt:184

0063 Gt:185 Pedal Steel EGT 121 1

0064 Gt:186 Clean Gt. EGT 121 0 28

0065 Gt:187 Chorus Gt. EGT 121 1

0066 Gt:188 Mid Tone GTR EGT 121 2

0067 Gt:189 Muted Gt. EGT 121 0 29

0068 Gt:190 Funk Pop EGT 121 1

0069 Gt:191 Funk Gt.2 EGT 121 2

0070 Gt:192 Jazz Man EGT 121 3

0071 Gt:193 Overdrive Gt DGT 121 0 30

0072 Gt:194 Guitar Pinch DGT 121 1

0073 Gt:195 DistortionGt DGT 121 0 31

0074 Gt:196 Feedback Gt. DGT 121 1

0075 Gt:197 Dist Rtm GTR DGT 121 2

0076 Gt:198 Gt.Harmonics EGT 121 0 32

0077 Gt:199 Gt. Feedback EGT 121 1

0078 Gt:200 Acoustic Bs. BS 121 0 33

0079 Gt:201 Fingered Bs. BS 121 0 34

Jazz Gt. EGT 121 0 27

Sub-category

MSB LSB PC

121 0 1

121 1

121 2

121 0 2

121 1

121 0 3

121 1

121 0 4

121 1

No. Name

0080 Gt:202 Finger Slap BS 121 1

0081 Gt:203 Picked Bass BS 121 0 35

0082 Gt:204 Fretless Bs. BS 121 0 36

0083 Gt:205 Slap Bass 1 BS 121 0 37

0084 Gt:206 Slap Bass 2 BS 121 0 38

0085 Gt:207 Synth Bass 1 SBS 121 0 39

0086 Gt:208 SynthBass101 SBS 121 1

0087 Gt:209 Acid Bass SBS 121 2

0088 Gt:210 Clavi Bass SBS 121 3

0089 Gt:211 Hammer SBS 121 4

0090 Gt:212 Synth Bass 2 SBS 121 0 40

0091 Gt:213 Beef FM Bass SBS 121 1

0092 Gt:214 RubberBass 2 SBS 121 2

0093 Gt:215 Attack Pulse SBS 121 3

0094 Oc:070 Violin STR 121 0 41

0095 Oc:071 Slow Violin STR 121 1

0096 Oc:072 Viola STR 121 0 42

0097 Oc:073 Cello STR 121 0 43

0098 Oc:074 Contrabass STR 121 0 44

0099 Oc:075 Tremolo Str STR 121 0 45

0100 Oc:076 PizzicatoStr STR 121 0 46

0101 Wr:059 Harp PLK 121 0 47

0102 Wr:060 Yang Qin PLK 121 1

0103 Wr:061 Timpani PRC 121 0 48

0104 Oc:077 Strings STR 121 0 49

0105 Oc:078 Orchestra ORC 121 1

0106 Oc:079 60s Strings STR 121 2

0107 Oc:080 Slow Strings STR 121 0 50

0108 Oc:081 Syn.Strings1 STR 121 0 51

0109 Oc:082 Syn.Strings3 STR 121 1

0110 Vo:143 Syn.Strings2 SPD 121 0 52

0111 Vo:144 Choir Aahs V OX 121 0 53

0112 Vo:145 Chorus Aahs VOX 121 1

0113 Vo:146 Voice Oohs VOX 121 0 54

0114 Vo:147 Humming VOX 121 1

0115 Vo:148 SynVox VOX 121 0 55

0116 Vo:149 Analog Voice VOX 121 1

0117 Oc:083 OrchestraHit HIT 121 0 56

0118 Oc:084 Bass Hit HIT 121 1

0119 Oc:085 6th Hit HIT 121 2

0120 Oc:086 Euro Hit HIT 121 3

0121 Br:077 Trumpet BRS 121 0 57

0122 Br:078 Dark Trumpet BRS 121 1

0123 Br:079 Trombone BRS 121 0 58

0124 Br:080 Trombone 2 BRS 121 1

0125 Br:081 Bright Tb BRS 121 2

0126 Br:082 Tuba BRS 121 0 59

0127 Br:083 MutedTrumpet BRS 121 0 60

0128 Br:084 MuteTrumpet2 BRS 121 1

0129 Br:085 French Horns BRS 121 0 61

0130 Br:086 Fr.Horn 2 BRS 121 1

0131 Br:087 Brass 1 BRS 121 0 62

0132 Br:088 Brass 2 BRS 121 1

0133 Br:089 Synth Brass1 SBR 121 0 63

0134 Br:090 Pro Brass SBR 121 1

0135 Br:091 Oct SynBrass SBR 121 2

0136 Br:092 Jump Brass SBR 121 3

0137 Br:093 Synth Brass2 SBR 121 0 64

0138 Br:094 SynBrass sfz SBR 121 1

0139 Br:095 Velo Brass 1 SBR 121 2

0140 Br:096 Soprano Sax SAX

0141 Br:097 Alto Sax SAX 121 0 66

0142 Br:098 Tenor Sax SAX 121 0 67

0143 Br:099 Baritone Sax SAX 121 0 68

0144 Br:100 Oboe WND 121 0 69

0145 Br:101 English Horn WND 121 0 70

0146 Br:102 Bassoon WND 121 0 71

0147 Br:103 Clarinet WND 121 0 72

0148 Br:104 Piccolo F LT 121 0 73

0149 Br:105 Flute F LT 121 0 74

0150 Br:106 Recorder F LT 121 0 75

0151 Br:107 Pan Flute F LT 121 0 76

0152 Br:108 Bottle Blow FLT 121 0 77

0153 Wr:062 Shakuhachi ETH 121 0 78

0154 Br:109 Whistle F LT 121 0 79

0155 Br:110 Ocarina F LT 121 0 80

0156 Sy:330 Square Wave HLD 121 0 81

0157 Sy:331 MG Square HLD 121 1

0158 Sy:332 2600 Sine HLD 121 2

0159 Sy:333 Saw Wave HLD 121 0 82

0160 Sy:334 OB2 Saw HLD 121 1

Sub-category

MSB LSB PC

121 0 65

74

Patch List

No. Name

0161 Sy:335 Doctor Solo HLD 121 2

0162 Sy:336 Natural Lead HLD 121 3

0163 Sy:337 SequencedSaw HLD 121 4

0164 Sy:338 Syn.Calliope SLD 121 0 83

0165 Sy:339 Chier Lead SLD 121 0 84

0166 Sy:340 Charang HLD 121 0 85

0167 Sy:341 Wire Lead HLD 121 1

0168 Sy:342 Solo Vox SLD 121 0 86

0169 Sy:343 5th Saw Wave HLD 121 0 87

0170 Sy:344 Bass & Lead HLD 121 0 88

0171 Sy:345 Delayed Lead HLD 121 1

0172 Sy:346 Fantasia SYN 121 0 89

0173 Vo:150 Warm Pad SPD 121 0 90

0174 Vo:151 Sine Pad SPD 121 1

0175 Sy:347 Polysynth SYN 121 0 91

0176 Vo:152 Space Voice V OX 121 0 92

0177 Vo:153 Itopia VOX 121 1

0178 Vo:154 Bowed Glass SPD 121 0 93

0179 Vo:155 Metal Pad BPD 121 0 94

0180 Vo:156 Halo Pad BPD 121 0 95

0181 Vo:157 Sweep Pad SPD 121 0 96

0182 Sy:348 Ice Rain SYN 121 0 97

0183 Vo:158 Soundtrack SPD 121 0 98

0184 Ky:159 Crystal BEL 121 0 99

0185 Ky:160 Syn Mallet BEL 121 1

0186 Gt:216 Atmosphere AGT 121 0 100

0187 Sy:349 Brightness SYN 121 0 101

0188 Sy:350 Goblin PLS 121 0 102

0189 Vo:159 Echo Drops BPD 121 0 103

0190 Vo:160 Echo Bell BPD 121 1

0191 Vo:161 Echo Pan BPD 121 2

0192 Vo:162 Star Theme BPD 121 0 104

0193 Wr:063 Sitar PLK 121 0 105

0194 Wr:064 Sitar 2 PLK 121 1

0195 Wr:065 Banjo FRT 121 0 106

0196 Wr:066 Shamisen PLK 121 0 107

0197 Wr:067 Koto PLK 121 0 108

0198 Wr:068 Taisho Koto PLK 121 1

0199 Wr:069 Kalimba PLK 121 0 109

0200 Wr:070 Bagpipe ETH 121 0 110

0201 Oc:087 Fiddle STR 121 0 111

0202 Wr:071 Shanai ETH 121 0 112

0203 Ky:161 Tinkle Bell BEL 121 0 113

0204 Wr:072 Agogo PRC 121 0 114

0205 Ky:162 Steel Drums MLT 121 0 115

0206 Wr:073 Woodblock PRC 121 0 116

0207 Wr:074 Castanets PRC 121 1

0208 Wr:075 Taiko PRC 121 0 117

0209 Wr:076 Concert BD PRC 121 1

0210 Wr:077 Melo. Tom 1 PRC 121 0 118

0211 Wr:078 Melo. Tom 2 PRC 121 1

0212 Wr:079 Synth Drum PRC 121 0 119

0213 Wr:080 808 Tom PRC 121 1

0214 Wr:081 Elec Perc PRC 121 2

0215 Wr:082 Reverse Cym. PRC 121 0 120

0216 Gt:217 Gt.FretNoise AG T 121 0 121

0217 Gt:218 Gt.Cut Noise AGT 121 1

0218 Gt:219 String Slap AG T 121 2

0219 Sy:351 Breath Noise FX 121 0 122

0220 Sy:352 Fl.Key Click FX 121 1

0221 Wr:083 Seashore SFX 121 0 123

0222 Wr:084 Rain SFX 121 1

0223 Wr:085 Thunder SFX 121 2

0224 Wr:086 Wind SFX 121 3

0225 Wr:087 Stream SFX 121 4

0226 Wr:088 Bubble SFX 121 5

0227 Wr:089 Bird SFX 121 0 124

0228 Wr:090 Dog SFX 121 1

0229 Wr:091 Horse-Gallop SFX 121 2

0230 Wr:092 Bird 2 SFX 121 3

0231 Wr:093 Telephone 1 SFX 121 0 125

0232 Wr:094 Telephone 2 SFX 121 1

0233 Wr:095 DoorCreaking SFX 121 2

0234 Wr:096 Door SFX 121 3

0235 Wr:097 Scratch SFX 121 4

0236 Wr:098 Wind Chimes SFX 121 5

0237 Wr:099 Helicopter SFX 121 0 126

0238 Wr:100 Car-Engine SFX 121 1

0239 Wr:101 Car-Stop SFX 121 2

0240 Wr:102 Car-Pass SFX 121 3

0241 Wr:103 Car-Crash SFX 121 4

Sub-category

MSB LSB PC

No. Name

0242 Wr:104 Siren SFX 121 5

0243 Wr:105 Train SFX 121 6

0244 Wr:106 Jetplane SFX 121 7

0245 Wr:107 Starship SFX 121 8

0246 Wr:108 Burst Noise SFX 121 9

0247 Wr:109 Applause SFX 121 0 127

0248 Wr:110 Laughing SFX 121 1

0249 Wr:111 Screaming SFX 121 2

0250 Wr:112 Punch SFX 121 3

0251 Wr:113 Heart Beat SFX 121 4

0252 Wr:114 Footsteps SFX 121 5

0253 Wr:115 Gun Shot SFX 121 0 128

0254 Wr:116 Machine Gun SFX 121 1

0255 Wr:117 Lasergun SFX 121 2

0256 Wr:118 Explosion SFX 121 3

Sub-category

MSB LSB PC

75

Performance List

No. Name

001 Bass / Piano

002 Piano & Str

003 Big & Proud

004 Whale Pad

005 Dual Rotary

006 Mission DS

007 JUNO DS Lead

008 Choir Orche

009 Delicate

010 Asian Temple

011 The Leader

012 SolarEclipse

013 Proud Brass

014 Air Garden

015 Winter Bell

No. Name

016 D-50Memories

017 Ambi Lead

018 Rock Organ

019 Notre-Dame

020 SuperSawStk

021 SatelliteGtr

022 Bright Pad

023 Pad/Sine Ld

024 Rock Unison

025 Super SynBrs

026 St Echo Lead

027 Flux Pad

028 Sweet Tekno

029 Twilight Pad

030 SonicVoyager

Drum Kit List

Bank: DS

No. Name MSB LSB PC

0001 Dr:S01 StudioKt DS1

0002 Dr:S02 StudioKt DS2

0003 Dr:S03 EEU-Oriental

0004 Dr:S04 808 Kit

0005 Dr:S05 909 Kit

0006 Dr:S06 EDM Kit 1

0007 Dr:S07 EDM Kit 2

0008 Dr:S08 Drum&Bs Kit

0009 Dr:S09 DanceMixKit

086 065 001

086 065 002

086 065 003

086 065 004

086 065 005

086 065 006

086 065 007

086 065 008

086 065 009

No. Name

031 St Oct Lead

032 Personal Pad

033 Eden Gardens

034 Space Tale

035 SeqBs/Sft Ld

036 Gtr Heaven

037 Concert Str

038 Dual D-50

039 Wstmin Abbey

040 Choir & Orch

041 World Lead

042 CrystalGrand

043 Orchestral

044 80s Stack

045 Grand Ocean

Bank: GM

No. Name MSB LSB PC

0001 Dr:022 GM2 STANDARD

0002 Dr:023 GM2 ROOM

0003 Dr:024 GM2 POWER

0004 Dr:025 GM2 ELECTRIC

0005 Dr:026 GM2 ANALOG

0006 Dr:027 GM2 JAZZ

0007 Dr:028 GM2 BRUSH

0008 Dr:029 GM2 ORCHSTRA

0009 Dr:030 GM2 SFX

No. Name

046 Baby's Hand

047 Leading D/A

048 Horizon

049 TripTo 80s

050 Blizzard

051 WoodyFlt Ld

052 3AM

053 Synchronize

054 Additive Pad

055 The Pipes

056 Space Walk

057 Tibet Pad

058 XyloSaw Ld

059 Jupiters

060 Voc:Di + Bs

No. Name

061 Voc:Di + Org

062 Voc:Di + Pad

063 Seq:Template

064 GM2 Template

120 0 001

120 0 009

120 0 017

120 0 025

120 0 026

120 0 033

120 0 041

120 0 049

120 0 057

Bank: PRST

No. Name MSB LSB PC

0001 Dr:001 Pop Kit 1

0002 Dr:002 Rock Kit

0003 Dr:003 Brush Jz Kit

0004 Dr:004 HipHop Kit

0005 Dr:005 R&B Kit

0006 Dr:006 Dance Kit 1

0007 Dr:007 Dance Kit 2

0008 Dr:008 Dance Kit 3

0009 Dr:009 Pop Kit 2

0010 Dr:010 Dance Kit 4

0011 Dr:011 Ambi Pop 1

0012 Dr:012 Ambi Rock

0013 Dr:013 Ambi BrushJz

0014 Dr:014 Ambi HipHop

0015 Dr:015 Ambi R&B

0016 Dr:016 Ambi Dance 1

0017 Dr:017 Ambi Dance 2

0018 Dr:018 Ambi Dance 3

0019 Dr:019 Ambi Pop 2

0020 Dr:020 Ambi Dance 4

0021 Dr:021 Latin Menu

086 064 001

086 064 002

086 064 003

086 064 004

086 064 005

086 064 006

086 064 007

086 064 008

086 064 009

086 064 010

086 064 011

086 064 012

086 064 013

086 064 014

086 064 015

086 064 016

086 064 017

086 064 018

086 064 019

086 064 020

086 064 021

76

C1

C2

C3

C4

C5

C6

C7

C8

Drum Kit Assign List

DS: 0001. StudioKt DS1 DS: 0002. StudioKt DS2 DS: 0003. EEU-Oriental DS: 0004. 808 Kit DS: 0005. 909 Kit

----- ----- BB2-SlideBs1 ----- -----

21

22

MC-500 Beep1 MC-500 Beep1 BB2-SlideBs2 ----- -----

23

MC-500 Beep2 MC-500 Beep2 FG.TR909Clap ----- ----Concert SD Concert SD Tambarin 2 ----- -----

24

Snare Roll 1 Snare Roll 1 VA.Cha2Bell1 ----- -----

25

Finger Snap2 Finger Snap2 EEU-ViolnSl1 ----- -----

26

High Q H igh Q EEU-ViolnSl2 ----- -----

27

28

Slap Slap EEU-E.VlnSl1 ----- ----Scratch Push Scratch Push EEU-E.VlnSl2 ----- -----

29

Scratch Pull Scratch Pull EM.Tbl2 Dom ----- -----

30

Sticks Sticks EM.Tbl2 Tak1 Kick1 Kick1

31

Reg.PHH [M1] Reg.PHH [M1] EM.Tbl2 Rim1 Snare Ghost1 Snare Ghost1

32

33

Hand Clap Hand Clap TR909 Clap 1 K ick2 909 Kick 1

34

Snare Roll 2 Snare Roll 2 Reg.PHH [M1] Pedal Hihat [M1] Pedal Hihat [M1]

35

Warm Kick Warm Kick SC.TR909 BD2 808 Kick 1 909 Kick 3 Hush Kick Hush Kick EEU-BsDrm 808 Kick 2 909 Kick 2

36

WoodSideStk Br.SideStk EEU-CrsStk 808 R im 909 Rimshot

37

TitanSnr Br.Snr 1 EEU-Snare1 808 Snare 1 909 Snare 1

38

T.Snr Ghst IronSnrGst Reg.SnrGst 808 Clap 909 Clap

39

40

T.Snr RS Br.Snr 2 EEU-Snare2 808 Snare 2 909 Snare 2 StudioT4 StudioT4 EEU-LTom2 808 Low Tom 909 Low Tom

41

Reg.CHH 1 [M1] Reg.CHH 1 [M1] EEU-HH Cl1 [M1] 808 Cl HH [M1] 909 Cl HH [M1]

42

StudioT3 StudioT3 EEU-LTom1 808 Low Tom 909 L DstTom

43

Reg.CHH 2 [M1] Reg.CHH 2 [M1] EEU-HH Cl2 [M1] 808 Pedal HH [M1] 909 Pedal HH [M1]

44

StudioT3 StudioT3 EEU-MTom2 808 Mid Tom 909 Mid Tom

45

46

Reg.OHH [M1] Reg.OHH [M1] EEU-HH Op [M1] 808 Open HH [M1] 909 Open HH [M1]

47

StudioT2 StudioT2 EEU-MTom1 808 Mid Tom 909 M DstTom StudioT2 StudioT2 EEU-HTom2 808 Hi Tom 909 Hi Tom

48

Crash Cym Crash Cym EEU-Cr.Cym2 808 Cymbal 909 CrashCym

49

StudioT1 StudioT1 EEU-HTom1 808 Hi Tom 909 H DstTom

50

Rock Ride Rock Ride EEU-Ride Ride Cymbal1 909 Ride Cym

51

52

Chinese Cym Chinese Cym EEU-ChnCym China Cymbal China Cymbal Rock Ride Rock Ride EEU-Ride Cup Ride Cymbal2 Ride Cymbal2

53

Tambourine Tambourine Tambourine 3 Tambourine Tambourine

54

Splash Cym Splash Cym EEUSplashCym SplashCymbal SplashCymbal

55

Cowbell Cowbell Cowbell Mute 808 Cowbell Cowbell

56

Crash Cym Crash Cym EEU-Cr.Cym1 Crash Cymbal CrashCymbal2

57

58

Vibra-slap Vibra-slap EM.DholaRaka Vibraslap Vibraslap

59

Rock Ride Rock Ride EM.DholaTak1 Ride Cymbal3 Ride Cymbal3 StudioT4 High Bongo EM.DholaTak2 High Bongo1 High Bongo1

60

Low Bongo Low Bongo EM.DofDom 1 Low Bongo1 Low Bongo1

61

Mute HiConga Mute H iConga EM.DofDom 2 808 LowConga Conga Slap

62

Open HiConga Open HiConga EM.DofDom 3 808 MidConga OpenHi Conga

63

64

Open LoConga Open LoConga EM.DofTak 1 808 Hi Conga Low Conga1 High Timbale H igh Timbale EEU-TapanL High Timbale High Timbale

65

Low Timbale Low Timbale EM.DofSak 1 Low Timbale Low Timbale

66

High Agogo High Agogo EEU-TapanH High Agogo High Agogo

67

Low Agogo Low Agogo EM.DofSak 2 Low Agogo Low Agogo

68

Cabasa Cabasa EEU-TapanM Cabasa Cabasa

69

70

Maracas Maracas EM.DofSak 3 808 Maracas Maracas

71

ShortWhistle ShortWhistle EEU-Tapan Fx ShortWhistle [M2] ShortWhistle [M2] Long Whistle Long Whistle EM.DofFingr2 Long Whistle [M2] Long Whistle [M2]

72

Short Guiro [M2] Shor t Guiro [M2] EM.Tbl Raka1 Short Guiro [M3] Short Guiro [M3]

73

Long Guiro [M2] Long Guiro [M2] EM.Tbl Tak 1 Long Guiro [M3] Long Guiro [M3]

74

Claves Claves EM.Tbl Tik 1 808 Claves Claves

75

76

Hi Wood Blck Hi Wood Blck EM.Tbl Dom 1 Hi WoodBlock Hi WoodBlock Lo Wood Blck Lo Wood Blck EM.Tbl Sak 1 [M2] LowWoodBlock LowWoodBlock

77

Mute Cuica [M5] Mute Cuica [M5] EM.Tbl Roll [M2] Mute Cuica [M4] Mute Cuica [M4]

78

Open Cuica [M5] Open Cuica [M5] EM.Tbl Tak 2 [M2] Open Cuica [M4] Open Cuica [M4]

79

MuteTriangle [M3] MuteTriangle [M3] EM.Tbl Raka2 [M2] MuteTriangle [M5] MuteTriangle [M5]

80

OpenTriangle [M3] OpenTriangle [M3] EM.Tbl R im 1 [M2] OpenTriangle [M5] OpenTriangle [M5]

81

82

Shaker Shaker EM.Tbl Toks1 Shaker Shaker

83

Jingle Bell Jingle Bell EM.Tbl Rim 2 Castanet Castanet Wind Chime Wind Chime EM.Tbl Tik 2 High Bongo2 High Bongo2

84

Castanets Castanets EM.Rek Raka MtHigh Conga MtH igh Conga

85

Mute Surdo [M4] Mute Surdo [M4] EM.Rek D om Low Bongo2 Low Bongo2

86

Open Surdo [M4] Open Surdo [M4] EM.Rek Trill Low Bongo3 Low Bongo3

87

88

Applause 2 Applause 2 EM.Rek Tak 1

----- ----- EM.Rek Rim 1 Low Tom3 Low Tom3

89

----- ----- EM.Rek Brs 1 Low Tom4 Low Tom4

90

----- ----- EM.Rek Tok Mix Kick1 Mix Kick1

91

----- ----- EM.Rek Brs 3 Mix Kick2 Mix Kick2

92

93

----- ----- EM.Rek Tak 2 Mix Kick3 Mix Kick3

94

----- ----- EM.REK Sak Mix Kick4 Mix Kick4

95

----- ----- EM.Rek Tik Mix Nz1 Mix Nz1

----- ----- EM.MazharDom Mix Nz2 Mix Nz2

96

Std.1 Snare1 Std.1 Snare1 EM.MazharTak Mix Nz3 Mix Nz3

97

Std.1 Snare2 Std.1 Snare2 EM.MazharSak Wind Chime Wind Chime

98

Std 2 Snare1 Std 2 Snare1 EM.MazharBrs Hand Clap1 Hand Clap1

99

Std 2 Snare2 Std 2 Snare2 EEUbngL OP Hand Clap2 Hand Clap2

100

Snare Drum 2 Snare Drum 2 EEUbngL RM ----- -----

101

Std 1 Snare1 Std 1 Snare1 EEUbngH OP ----- -----

102

Std 1 Snare2 Std 1 Snare2 EEUbngH RM ----- -----

103

Std Snare 3 Std Snare 3 EM.Dofs Tak ----- -----

104

105

Jazz Snare 1 Jazz Snare 1 EM.Dofs Dom ----- -----

106

Jazz Snare 2 Jazz Snare 2 EM.Dofs Sak ----- -----

107

Room Snare 1 Room Snare 1 EM.Dofs Rim1 ----- ----Room Snare 2 Room Snare 2 EM.Dofs Rim2 ----- -----

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

Low Conga2 Low Conga2

77

C1

C2

C3

C4

C5

C6

C7

C8

Performance List

DS: 0006. StudioKt DS1 DS: 0007. StudioKt DS2 DS: 0008. EEU-Oriental DS: 0009. 808 Kit

----- ----- ----- 909 Kick

21

22

----- ----- ----- FingerSnaps

23

----- ----- ----- Id Snare

----- ----- ----- Fat Kick

24

----- ----- ----- Gospel Clap

25

----- ----- ----- HipHop Kick

26

----- ----- ----- Uno!

27

28

TR808 Kick SH32 Kick1 TR909 Kick1 Dos! Mix Kick1 TR909 Kick1 SH32 Kick1 Tres!

29

Mix Snare1 AnalogSnare1 Snare Ghost1 Quatro!

30

Mix Kick2 Analog Kick1 Analog Kick Hey Brazil

31

Mix Snare2 TR808 Snare TR909 Snare1 Reg.CHH

32

33

Mix Kick3 SH32 Kick2 SH32 Kick2 Sol Snare

34

Thin ClHH Pedal Hihat [M1] Pedal Hihat [M1] Gospel Clap

35

Mix Kick4 TR909 Kick2 Reg.Kick Id Snare 909 Kick 1 Analog Kick2 DnB Kick Plastic K ick

36

Mix Rim1 Synth Rim TR808 Rim1 808 Rim

37

626 Snare Clap&Snare 1 SF Snare 626 Snare

38

TR808 Clap TR808 Clap1 TR808 Clap Hand Clap

39

40

106 Snare Clap&Snare 2 DnB Snare Gospel Clap Mix Tom1 Deep Tom1 Reg.F.Tom Gospel Clap

41

Mix ClHH1 Reg.CHH [M1] Cl Hihat1 [M1] 808 CHH [M1]

42

Mix Tom2 Deep Tom1 Reg.F.Tom 808 Low Tom

43

Mix ClHH2 Reg.PHH [M1] Cl H ihat2 [M1] 808 PHH [M1]

44

Mix Tom3 Deep Tom2 Reg.M.Tom 808 M id Tom

45

46

Op Hihat Reg.OHH [M1] Op Hihat1 [M1] 909 OHH [M1]

47

Mix Tom3 Deep Tom2 Reg.M.Tom 808 M id Tom Mix Tom4 Deep Tom3 Reg.H.Tom 808 Hi Tom

48

Crash Cymbal Rock Crash CrashCymbal1 909 CrashCym

49

Mix Tom4 Deep Tom3 Reg.H.Tom 808 Hi Tom

50

TR909 Ride Wide Syn Cym Ride Cymbal1 Ride Cymbal

51

52

China Cymbal TR808 Cym2 Rock Chash China Cymbal Ride Cymbal China Cym1 Ride Cup 909 Ride Cym

53

Tambourine Castanet Tambourine1 Tambourine

54

Rock Crash TR808 Cym3 Syn Swt Atk1 SplashCymbal

55

Cowbell Syn Cowbell Agogo Noise 808 Cowbell

56

Concert Cym China Cym2 MG Zap1 Crash Cymbal

57

58

Vibraslap Syn Swt Atk1 Syn Swt Atk2 Vibraslap

59

TR808 Cym TR909 Kick3 TR909 Kick4 Ride Cymbal Bongo1 Analog Kick3 SH32 K ick3 H igh Bongo1

60

Bongo2 Syn Stick TR808 Rim2 Low Bongo1

61

Bongo&Conga1 AnalogSnare2 TR808 Snare1 808 LowConga

62

Conga TR808 Clap2 TR808 Clap1 808 MidConga

63

64

Bongo&Conga2 AnalogSnare3 Analog Snare 808 Hi Conga TR808 Conga Shaker1 Mid Tom1 H igh Timbale

65

Maracas Syn ClHH1 [M1] Noise ClHH [M1] Low Timbale

66

Shaker Shaker2 Mid Tom2 High Agogo

67

Triangle1 Syn ClHH2 [M1] Cl Hihat3 [M1] Low Agogo

68

Cabasa Atmosphere1 Mid Tom3 Cabasa

69

70

Guiro Syn OpHH [M1] Op Hihat2 [M1] 808 Maracas

71

Street OpHH Atmosphere2 Mid Tom4 Shor tWhistle [M2] Scratch Atmosphere3 Mid Tom5 Long Whistle [M2]

72

Mix Atk1 TR808 Cym4 Rock Crash2 Short Guiro [M3]

73

MG Zap Atmosphere4 Mid Tom6 Long Guiro [M3]

74

Syn Swt Atk1 Mix Ride SplashCymbal 808 Claves

75

76

Syn Swt Atk2 China Cym3 Rock Crash3 Hi WoodBlock Cuica Low Rock Rd Edge Rock Rd Edge LowWoodBlock

77

Triangle2 Syn Slap Tambourine2 Mute Cuica [M4]

78

Triangle3 MG Zap1 Syn Swt Atk3 Open Cuica [M4]

79

Triangle4 SynVox Noise Cowbell1 MuteTriangle [M5]

80

Mix Hit1 MG Zap2 Syn Swt Atk4 OpenTriangle [M5]

81

82

Mix Hit2 Syn Swt Atk2 Cowbell2 Shaker

83

Mix Hit3 MG Zap3 MG Zap2 Castanet Wind Chime 808 Maracas Low Bongo High Bongo

84

Timpani Roll TR808 Claves MtHigh Conga MtHigh Conga

85

Crotale MuteTriangle [M2] Conga Slap Low Bongo

86

R8 Click [M2] OpenTriangle [M2] OpHigh Conga Low Bongo

87

88

Metro Bell [M2] Mix H it Op Low Conga Low Conga DR202 Beep 1 Scratch High Timbale Fuego!

89

DR202 Beep 2 Easy Gtr Low Timbale Tiquitito!

90

Sweep Down1 Syn Bel Atk High Agogo Grito -Oa Oa!

91

Sweep Up MG Attack Low Agogo Mix Kick

92

Sweep Down2 SynSnareRoll Cabasa MG Zap

93

94

Light Wood Syn Burst Nz Maracas 808 Snare

95

Laser White Noise Short Guiro [M2] Reverse Cym Low Atk Polishing Nz Long Guiro [M2] Mix Noise

96

Analog Kick Long Guiro Claves 909 Crash

97

Old Kick Light Wood LowWoodBlock ReverseClap

98

Mix Kick6 Light Box Hi WoodBlock Reg.Kick

99

TR909 Snare Syn Swt Atk3 MuteTriangle [M3] 909 Ride

100

TR808 Snare Laugh OpenTriangle [M3] Deep Tom

101

Mix Snare4 Oce Phone Castanet Id Snare

102

Mix Snare5 Polish Kick Whistle Deep Tom

103

----- ----- ----- 808 Kick

104

105

----- ----- ----- 808 CHH [M2]

106

----- ----- ----- Analog Snr

107

----- ----- ----- 808 OHH [M2]

----- ----- ----- Deep Tom

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

78

C1

C2

C3

C4

C5

C6

C7

C8

PRST: 0001. Pop Kit 1 PRST: 0002. Rock Kit PRST: 0003. Brush Jz Kit PRST: 0004. HipHop Kit PRST: 0005. R&B Kit

----- ----- ----- ----- -----

21

22

----- ----- ----- ----- -----

23

----- ----- ----- ----- -----

24

----- ----- ----- ----- -----

25

----- ----- ----- ----- -----

26

----- ----- ----- ----- -----

27

28

----- ----- ----- ----- -----

29

----- ----- ----- ----- -----

30

Kick1 K ick1 K ick1 Analog Kick1 Mix Kick1

31

Snare Ghost1 Snare Ghost1 Snare Ghost Analog Kick2 Mix Kick2

32

33

Kick2 K ick2 K ick2 Mix Kick1 Mix Kick3

34

Pedal Hihat [M1] Pedal Hihat [M1] Pedal Hi-hat [M1] Mix Kick2 Mix Kick4

35

Kick3 Power Kick1 Jazz Kick 1 Analog Kick3 Mix Kick5 Kick4 Power Kick2 Jazz Kick 2 Mix Kick3 Mix Kick6

36

Side Stick Side Stick Side Stick TR808 Rim1 Soft Stick

37

Snare1 Power Snare1 Brush Slap1 Mix Snare1 Short Snare1

38

Snare Ghost2 Snare Ghost2 Jz Brsh Swsh Mix Clap1 Mix Stick

39

40

Snare2 Power Snare2 Brush Slap2 Mix Snare2 Short Snare2 Low Tom1 Low Tom1 BrushLowTom Mix Snare3 Short Snare3

41

Cl Hihat1 [M1] Cl Hihat1 [M1] Brush ClHH1 [M1] TR808 ClHH [M1] Cl Hihat1 [M1]

42

Low Tom2 Low Tom2 BrushMidTom1 Mix Snare4 Short Snare4

43

Cl Hihat2 [M1] Cl Hihat2 [M1] Brush ClHH2 [M1] Noise ClHH [M1] Cl Hihat2 [M1]

44

Mid Tom1 Mid Tom1 BrushMidTom2 Mix Snare5 Mix Snare1

45

46

Op Hihat [M1] Op Hihat [M1] Brush OpHH [M1] TR808 OpHH [M1] Op Hihat [M1]

47

Mid Tom2 Mid Tom2 BrushMidTom2 Mix Snare6 Mix Snare2 High Tom1 High Tom1 Brush H iTom Syn Swt Atk1 Mix Snare3

48

CrashCymbal1 CrashCymbal1 CrashCymbal1 TR808 Cym1 TR808 Cym1

49

High Tom2 High Tom2 Brush H iTom MG Attack M ix Snare4

50

Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 TR808 Cym2 TR808 Cym2

51

52

China Cymbal China Cymbal China Cymbal China Cymbal China Cymbal Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Rock Rd Edge Rock Rd Edge

53

Tambourine Tambourine Tambourine Tambourine1 Tambourine1

54

SplashCymbal SplashCymbal SplashCymbal Mix Crash1 Mix Crash1

55

Cowbell Cowbell Cowbell Mix Hat M ix Hat

56

CrashCymbal2 CrashCymbal2 CrashCymbal2 M ix Crash2 Mix Crash2

57

58

Vibraslap Vibraslap Vibraslap Syn Swt Atk2 Syn Swt Atk

59

Ride Cymbal3 Ride Cymbal3 Ride Cymbal3 TR808 Kick1 TR808 Kick1 High Bongo1 High Bongo1 High Bongo TR808 Kick2 TR808 Kick2

60

Low Bongo1 Low Bongo1 Low Bongo TR808 Rim2 TR808 Rim

61

Conga Slap Conga Slap MtHigh Conga TR808 Snare1 TR808 Snare1

62

OpenHi Conga OpenH i Conga OpHigh Conga TR808 Clap1 TR808 Clap1

63

64

Low Conga1 Low Conga1 Low Conga TR808 Snare2 TR808 Snare2 High Timbale H igh Timbale High Timbale TR808 Tom1 TR808 Tom1

65

Low Timbale Low Timbale Low Timbale TR808 ClHH [M1] TR808 ClHH [M1]

66

High Agogo High Agogo High Agogo TR808 Tom2 TR808 Tom2

67

Low Agogo Low Agogo Low Agogo Noise ClHH [M1] Noise ClHH [M1]

68

Cabasa Cabasa Cabasa TR808 Tom3 TR808 Tom3

69

70

Maracas Maracas Maracas TR808 OpHH [M1] TR808 OpHH [M1]

71

ShortWhistle [M2] ShortWhistle [M2] Jazz Kick 1 TR808 Tom4 TR808 Tom4 Long Whistle [M2] Long Whistle [M2] Jazz Kick 2 TR808 Tom5 TR808 Tom5

72

Short Guiro [M3] Shor t Guiro [M3] Side Stick Scratch1 Scratch1

73

Long Guiro [M3] Long Guiro [M3] Jazz Snare1 TR808 Tom6 TR808 Tom6

74

Claves Claves Sft Snr Gst S cratch2 Scratch2

75

76

Hi WoodBlock Hi WoodBlock Jazz Snare2 Hand Clap1 Hand Clap1 LowWoodBlock LowWoodBlock Low Tom Hand Clap2 Hand Clap2

77

Mute Cuica [M4] Mute Cuica [M4] Cl Hihat1 [M1] TR808 Clap2 TR808 Clap2

78

Open Cuica [M4] Open Cuica [M4] M id Tom1 Cabasa Cabasa

79

MuteTriangle [M5] MuteTriangle [M5] Cl Hihat2 [M1] Shaker1 Shaker1

80

OpenTriangle [M5] OpenTriangle [M5] M id Tom2 Tambourine2 Tambourine2

81

82

Shaker Shaker Op Hihat [M1] Shaker2 Shaker2

83

Castanet Castanet Mid Tom2 Castanet Castanet High Bongo2 High Bongo2 High Tom High Bongo High Bongo

84

MtHigh Conga MtHigh Conga CrashCymbal1 MtHigh Conga MtHigh Conga

85

Low Bongo2 Low Bongo2 High Tom Low Bongo1 Low Bongo1

86

Low Bongo3 Low Bongo3 Ride Cymbal1 Low Bongo2 Low Bongo2

87

88

Low Conga2 Low Conga2 China Cymbal Op Low Conga Op Low Conga Low Tom3 Low Tom3 Low Tom3 Low Tom1 Low Tom1

89

Low Tom4 Low Tom4 Low Tom4 Low Tom2 Low Tom2

90

Mix Kick1 Mix Kick1

91

Mix Kick2 Mix Kick2 Hi WoodBlock Mix Kick5 Mix Kick8

92

93

Mix Kick3 Mix Kick3 LowWoodBlock TR909 Snare Stream

94

Mix Kick4 Mix Kick4 MuteTriangle [M5] Syn Burst N z Bubble

95

Mix Nz1 Mix Nz1 OpenTriangle [M5] Digi Breath Train Mix Nz2 Mix Nz2 Shaker Mix Breath Wind Chime

96

Mix Nz3 Mix Nz3 Castanet Wide Shaker Syn Back Nz1

97

Wind Chime Wind Chime Wind Chime JD Tuba Slap Syn Back Nz2

98

Hand Clap1 Hand Clap1 Hand Clap 1 Hand Clap3 Hand Clap3

99

Hand Clap2 Hand Clap2 Hand Clap 2 Hand Clap4 Hand Clap4

100

----- ----- ----- Door Creak -----

101

----- ----- ----- Vint.Phone -----

102

----- ----- ----- Polish Kick -----

103

----- ----- ----- ----- -----

104

----- ----- ----- ----- -----

105

106

----- ----- ----- ----- -----

107

----- ----- ----- ----- -----

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

Claves Mix Kick4 Mix K ick7

Performance List

79

C1

C2

C3

C4

C5

C6

C7

C8

Performance List

PRST: 0006. Dance Kit 1 PRST: 0007. Dance Kit 2 PRST: 0008. Dance Kit 3 PRST: 0009. Pop Kit 2 PRST: 0010. Dance Kit 4

----- ----- ----- ----- -----

21

22

----- ----- ----- ----- -----

23

----- ----- ----- ----- -----

24

----- ----- ----- ----- -----

25

----- ----- ----- ----- -----

26

----- ----- ----- ----- -----

27

28

TR808 Kick SH32 Kick1 TR909 Kick1 ----- TR808 Kick Mix Kick1 TR909 Kick1 SH32 Kick1 ----- Mix K ick1

29

Mix Snare1 AnalogSnare1 Snare Ghost1 ----- Mix Snare1

30

Mix Kick2 Analog Kick1 Analog Kick Kick1 Mix Kick2

31

Mix Snare2 TR808 Snare TR909 Snare1 Snare Ghost1 Mix Snare2

32

33

Mix Kick3 SH32 Kick2 SH32 Kick2 Kick2 Mix Kick3

34

Thin ClHH Pedal Hihat [M1] Pedal Hihat [M1] Pedal Hihat [M1] Thin ClHH

35

Mix Kick4 TR909 Kick2 TR909 Kick2 Kick3 Mix Kick4 Mix Kick5 Analog Kick2 TR909 Kick3 K ick4 Mix Kick5

36

Mix Rim1 Synth Rim TR808 Rim1 Side Stick Mix Rim1

37

Analog Snare TR909 Snare TR909 Snare2 Snare1 Mix Snare3

38

TR808 Clap TR808 Clap1 TR808 Clap Snare Ghost2 TR808 Clap

39

40

Mix Snare3 DistNz Snare TR909 Snare3 Snare2 Mix Snare4 Mix Tom1 Deep Tom1 TR808 Tom1 Low Tom1 Mix Tom1

41

Mix ClHH1 TR808 ClHH [M1] Cl Hihat1 [M1] Cl H ihat1 [M1] Mix ClHH1

42

Mix Tom2 Deep Tom1 TR808 Tom2 Low Tom2 Mix Tom2

43

Mix ClHH2 TR606 OpHH [M1] Cl Hihat2 [M1] Cl Hihat2 [M1] Mix ClHH2

44

Mix Tom3 Deep Tom2 TR808 Tom3 Mid Tom1 Mix Tom3

45

46

Op Hihat TR808 Cym1 [M1] Op Hihat1 [M1] Op Hihat [M1] Op Hihat

47

Mix Tom3 Deep Tom2 TR808 Tom4 Mid Tom2 Mix Tom3 Mix Tom4 Deep Tom3 TR808 Tom5 High Tom1 Mix Tom4

48

Crash Cymbal TR808 OpHH CrashCymbal1 CrashCymbal1 Crash Cymbal

49

Mix Tom4 Deep Tom3 TR808 Tom6 High Tom2 Mix Tom4

50

Rock Rd Edge Wide Syn Cym Ride Cymbal1 Ride Cymbal1 Rock R d Edge

51

52

China Cymbal TR808 Cym2 Rock Chash China Cymbal China Cymbal Ride Cymbal China Cym1 Ride Cup Ride Cymbal2 Ride Cymbal

53

Tambourine Castanet Tambourine1 Tambourine Tambourine

54

Rock Crash TR808 Cym3 Syn Swt Atk1 SplashCymbal R ock Crash

55

Cowbell Syn Cowbell Agogo Noise Cowbell Cowbell

56

Concert Cym China Cym2 MG Zap1 CrashCymbal2 Concert Cym

57

58

Vibraslap Syn Swt Atk1 Syn Swt Atk2 Vibraslap Vibraslap

59

TR808 Cym TR909 Kick3 TR909 Kick4 Ride Cymbal3 TR808 Cym Bongo1 Analog Kick3 SH32 K ick3 H igh Bongo1 Bongo1

60

Bongo2 Syn Stick TR808 Rim2 Low Bongo1 Bongo2

61

Bongo&Conga1 AnalogSnare2 TR808 Snare1 Conga Slap Bongo&Conga1

62

Conga TR808 Clap2 TR808 Clap1 OpenHi Conga Conga

63

64

Bongo&Conga2 AnalogSnare3 Analog Snare Low Conga1 Bongo&Conga2 TR808 Conga Shaker1 Mid Tom1 H igh Timbale TR808 Conga

65

Maracas Syn ClHH1 [M1] Noise ClHH [M1] Low Timbale Maracas

66

Shaker Shaker2 Mid Tom2 High Agogo Shaker

67

Triangle1 Syn ClHH2 [M1] Cl Hihat3 [M1] Low Agogo Triangle1

68

Cabasa Atmosphere1 Mid Tom3 Cabasa Cabasa

69

70

Guiro Syn OpHH [M1] Op Hihat2 [M1] Maracas Guiro 1

71

Street OpHH Atmosphere2 Mid Tom4 Shor tWhistle [M2] Street OpHH Scratch Atmosphere3 Mid Tom5 Long Whistle [M2] Scratch

72

Mix Atk1 TR808 Cym4 Rock Crash2 Short Guiro [M3] M ix Atk1

73

MG Zap Atmosphere4 Mid Tom6 Long Guiro [M3] MG Zap

74

Syn Swt Atk1 Mix Ride SplashCymbal Claves Syn Swt Atk1

75

76

Syn Swt Atk2 China Cym3 Rock Crash3 Hi WoodBlock Syn Swt Atk2 Cuica Low Rock Rd Edge Rock Rd Edge LowWoodBlock Cuica Low

77

Triangle2 Syn Slap Tambourine2 Mute Cuica [M4] Triangle2

78

Triangle3 MG Zap1 Syn Swt Atk3 Open Cuica [M4] Triangle3

79

Triangle4 SynVox Noise Cowbell1 MuteTriangle [M5] Triangle4

80

Mix Hit1 MG Zap2 Syn Swt Atk4 OpenTriangle [M5] Guiro 2

81

82

Mix Hit2 Syn Swt Atk2 Cowbell2 Shaker M ix Hit2

83

Mix Hit3 MG Zap3 MG Zap2 Castanet Mix Hit3 Wind Chime 808 Maracas Low Bongo High Bongo2 Wind Chime

84

Timpani Roll TR808 Claves MtHigh Conga MtHigh Conga Timpani Roll

85

Crotale MuteTriangle [M2] Conga Slap Low Bongo2 Crotale

86

R8 Click [M2] OpenTriangle [M2] OpHigh Conga Low Bongo3 R8 Click [M2]

87

88

Metro Bell [M2] Mix H it Op Low Conga Low Conga2 Metro Bell [M2] DR202 Beep 1 Scratch High Timbale Low Tom3 MC500 Beep 1

89

DR202 Beep 2 Easy Gtr Low Timbale Low Tom4 MC500 Beep 2

90

Sweep Down1 Syn Bel Atk High Agogo M ix Kick1 Sweep Down1

91

Sweep Up MG Attack Low Agogo Mix Kick2 Sweep Up

92

Sweep Down2 SynSnareRoll Cabasa

93

94

Light Wood Syn Burst Nz Maracas Mix Kick4 Light Wood

95

Laser White Noise Short Guiro [M2] Mix Nz1 Laser Low Atk Polishing Nz Long Guiro [M2] Mix Nz2 Low Atk

96

Analog Kick Long Guiro Claves Mix Nz3 Analog Kick

97

Old Kick Light Wood LowWoodBlock Wind Chime Old Kick

98

Mix Kick6 Light Box Hi WoodBlock Hand Clap1 Mix Kick6

99

TR909 Snare Syn Swt Atk3 MuteTriangle [M3] Hand Clap2 TR909 Snare

100

TR808 Snare Laugh OpenTriangle [M3] ----- TR808 Snare

101

Mix Snare4 Oce Phone Castanet ----- Mix Snare5

102

Mix Snare5 Polish Kick Whistle ----- Mix Snare6

103

----- ----- ----- ----- -----

104

----- ----- ----- ----- -----

105

106

----- ----- ----- ----- -----

107

----- ----- ----- ----- -----

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

80

Mix Kick3 Sweep Down2

C1

C2

C3

C4

C5

C6

C7

C8

PRST: 0011. Ambi Pop 1 PRST: 0012. Ambi Rock PRST: 0013. Ambi BrushJz PRST: 0014. Ambi HipHop PRST: 0015. Ambi R&B

----- ----- ----- ----- -----

21

22

----- ----- ----- ----- -----

23

----- ----- ----- ----- -----

24

----- ----- ----- ----- -----

25

----- ----- ----- ----- -----

26

----- ----- ----- ----- -----

27

28

----- ----- ----- ----- -----

29

----- ----- ----- ----- -----

30

Kick1 K ick1 K ick1 Analog Kick1 Mix Kick1

31

Snare Ghost1 Snare Ghost1 Snare Ghost Analog Kick2 Mix Kick2

32

33

Kick2 K ick2 K ick2 Mix Kick1 Mix Kick3

34

Pedal Hihat [M1] Pedal Hihat [M1] Pedal Hi-hat [M1] Mix Kick2 Mix Kick4

35

Kick3 Power Kick1 Jazz Kick 1 Analog Kick3 Mix Kick5 Kick4 Power Kick2 Jazz Kick 2 Mix Kick3 Mix Kick6

36

Side Stick Side Stick Side Stick TR808 Rim1 Soft Stick

37

Snare1 Power Snare1 Brush Slap1 Mix Snare1 Short Snare1

38

Snare Ghost2 Snare Ghost2 Jz Brsh Swsh Mix Clap1 Mix Stick

39

40

Snare2 Power Snare2 Brush Slap2 Mix Snare2 Short Snare2 Low Tom1 Low Tom1 BrushLowTom Mix Snare3 Short Snare3

41

Cl Hihat1 [M1] Cl Hihat1 [M1] Brush ClHH1 [M1] TR808 ClHH [M1] Cl Hihat1 [M1]

42

Low Tom2 Low Tom2 BrushMidTom1 Mix Snare4 Short Snare4

43

Cl Hihat2 [M1] Cl Hihat2 [M1] Brush ClHH2 [M1] Noise ClHH [M1] Cl Hihat2 [M1]

44

Mid Tom1 Mid Tom1 BrushMidTom2 Mix Snare5 Mix Snare1

45

46

Op Hihat [M1] Op Hihat [M1] Brush OpHH [M1] TR808 OpHH [M1] Op Hihat [M1]

47

Mid Tom2 Mid Tom2 BrushMidTom2 Mix Snare6 Mix Snare2 High Tom1 High Tom1 Brush H iTom Syn Swt Atk1 Mix Snare3

48

CrashCymbal1 CrashCymbal1 CrashCymbal1 TR808 Cym1 TR808 Cym1

49

High Tom2 High Tom2 Brush H iTom MG Attack M ix Snare4

50

Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 TR808 Cym2 TR808 Cym2

51

52

China Cymbal China Cymbal China Cymbal China Cymbal China Cymbal Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Rock Rd Edge Rock Rd Edge

53

Tambourine Tambourine Tambourine Tambourine1 Tambourine1

54

SplashCymbal SplashCymbal SplashCymbal Mix Crash1 Mix Crash1

55

Cowbell Cowbell Cowbell Mix Hat M ix Hat

56

CrashCymbal2 CrashCymbal2 CrashCymbal2 M ix Crash2 Mix Crash2

57

58

Vibraslap Vibraslap Vibraslap Syn Swt Atk2 Syn Swt Atk

59

Ride Cymbal3 Ride Cymbal3 Ride Cymbal3 TR808 Kick1 TR808 Kick1 High Bongo1 High Bongo1 High Bongo TR808 Kick2 TR808 Kick2

60

Low Bongo1 Low Bongo1 Low Bongo TR808 Rim2 TR808 Rim

61

Conga Slap Conga Slap MtHigh Conga TR808 Snare1 TR808 Snare1

62

OpenHi Conga OpenH i Conga OpHigh Conga TR808 Clap1 TR808 Clap1

63

64

Low Conga1 Low Conga1 Low Conga TR808 Snare2 TR808 Snare2 High Timbale H igh Timbale High Timbale TR808 Tom1 TR808 Tom1

65

Low Timbale Low Timbale Low Timbale TR808 ClHH [M1] TR808 ClHH [M1]

66

High Agogo High Agogo High Agogo TR808 Tom2 TR808 Tom2

67

Low Agogo Low Agogo Low Agogo Noise ClHH [M1] Noise ClHH [M1]

68

Cabasa Cabasa Cabasa TR808 Tom3 TR808 Tom3

69

70

Maracas Maracas Maracas TR808 OpHH [M1] TR808 OpHH [M1]

71

ShortWhistle [M2] ShortWhistle [M2] Jazz Kick 1 TR808 Tom4 TR808 Tom4 Long Whistle [M2] Long Whistle [M2] Jazz Kick 2 TR808 Tom5 TR808 Tom5

72

Short Guiro [M3] Shor t Guiro [M3] Side Stick Scratch1 Scratch1

73

Long Guiro [M3] Long Guiro [M3] Jazz Snare1 TR808 Tom6 TR808 Tom6

74

Claves Claves Sft Snr Gst S cratch2 Scratch2

75

76

Hi WoodBlock Hi WoodBlock Jazz Snare2 Hand Clap1 Hand Clap1 LowWoodBlock LowWoodBlock Low Tom Hand Clap2 Hand Clap2

77

Mute Cuica [M4] Mute Cuica [M4] Cl Hihat1 [M1] TR808 Clap2 TR808 Clap2

78

Open Cuica [M4] Open Cuica [M4] M id Tom1 Cabasa Cabasa

79

MuteTriangle [M5] MuteTriangle [M5] Cl Hihat2 [M1] Shaker1 Shaker1

80

OpenTriangle [M5] OpenTriangle [M5] M id Tom2 Tambourine2 Tambourine2

81

82

Shaker Shaker Op Hihat [M1] Shaker2 Shaker2

83

Castanet Castanet Mid Tom2 Castanet Castanet High Bongo2 High Bongo2 High Tom High Bongo High Bongo

84

MtHigh Conga MtHigh Conga CrashCymbal1 MtHigh Conga MtHigh Conga

85

Low Bongo2 Low Bongo2 High Tom Low Bongo1 Low Bongo1

86

Low Bongo3 Low Bongo3 Ride Cymbal1 Low Bongo2 Low Bongo2

87

88

Low Conga2 Low Conga2 China Cymbal Op Low Conga Op Low Conga Low Tom3 Low Tom3 Low Tom3 Low Tom1 Low Tom1

89

Low Tom4 Low Tom4 Low Tom4 Low Tom2 Low Tom2

90

Mix Kick1 Mix Kick1

91

Mix Kick2 Mix Kick2 Hi WoodBlock Mix Kick5 Mix Kick8

92

93

Mix Kick3 Mix Kick3 LowWoodBlock TR909 Snare Stream

94

Mix Kick4 Mix Kick4 MuteTriangle [M5] Syn Burst N z Bubble

95

Mix Nz1 Mix Nz1 OpenTriangle [M5] Digi Breath Train Mix Nz2 Mix Nz2 Shaker Mix Breath Wind Chime

96

Mix Nz3 Mix Nz3 Castanet Wide Shaker Syn Back Nz1

97

Wind Chime Wind Chime Wind Chime JD Tuba Slap Syn Back Nz2

98

Hand Clap1 Hand Clap1 Hand Clap 1 Hand Clap3 Hand Clap3

99

Hand Clap2 Hand Clap2 Hand Clap 2 Hand Clap4 Hand Clap4

100

----- ----- ----- Door Creak -----

101

----- ----- ----- Vint.Phone -----

102

----- ----- ----- Polish Kick -----

103

----- ----- ----- ----- -----

104

----- ----- ----- ----- -----

105

106

----- ----- ----- ----- -----

107

----- ----- ----- ----- -----

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

Claves Mix Kick4 Mix K ick7

Performance List

81

C1

C2

C3

C4

C5

C6

C7

C8

Performance List

PRST: 0016. Ambi Dance 1 PRST: 0017. Ambi Dance 2 PRST: 0018. Ambi Dance 3 PRST: 0019. Ambi Pop 2 PRST: 0020. Ambi Dance 4

----- ----- ----- ----- -----

21

22

----- ----- ----- ----- -----

23

----- ----- ----- ----- -----

24

----- ----- ----- ----- -----

25

----- ----- ----- ----- -----

26

----- ----- ----- ----- -----

27

28

TR808 Kick SH32 Kick1 TR909 Kick1 ----- TR808 Kick Mix Kick1 TR909 Kick1 SH32 Kick1 ----- Mix K ick1

29

Mix Snare1 AnalogSnare1 Snare Ghost1 ----- Mix Snare1

30

Mix Kick2 Analog Kick1 Analog Kick Kick1 Mix Kick2

31

Mix Snare2 TR808 Snare TR909 Snare1 Snare Ghost1 Mix Snare2

32

33

Mix Kick3 SH32 Kick2 SH32 Kick2 Kick2 Mix Kick3

34

Thin ClHH Pedal Hihat [M1] Pedal Hihat [M1] Pedal Hihat [M1] Thin ClHH

35

Mix Kick4 TR909 Kick2 TR909 Kick2 Kick3 Mix Kick4 Mix Kick5 Analog Kick2 TR909 Kick3 K ick4 Mix Kick5

36

Mix Rim1 Synth Rim TR808 Rim1 Side Stick Mix Rim1

37

Analog Snare TR909 Snare TR909 Snare2 Snare1 Mix Snare3

38

TR808 Clap TR808 Clap1 TR808 Clap Snare Ghost2 TR808 Clap

39

40

Mix Snare3 DistNz Snare TR909 Snare3 Snare2 Mix Snare4 Mix Tom1 Deep Tom1 TR808 Tom1 Low Tom1 Mix Tom1

41

Mix ClHH1 TR808 ClHH [M1] Cl Hihat1 [M1] Cl H ihat1 [M1] Mix ClHH1

42

Mix Tom2 Deep Tom1 TR808 Tom2 Low Tom2 Mix Tom2

43

Mix ClHH2 TR606 OpHH [M1] Cl Hihat2 [M1] Cl Hihat2 [M1] Mix ClHH2

44

Mix Tom3 Deep Tom2 TR808 Tom3 Mid Tom1 Mix Tom3

45

46

Op Hihat TR808 Cym1 [M1] Op Hihat1 [M1] Op Hihat [M1] Op Hihat

47

Mix Tom3 Deep Tom2 TR808 Tom4 Mid Tom2 Mix Tom3 Mix Tom4 Deep Tom3 TR808 Tom5 High Tom1 Mix Tom4

48

Crash Cymbal TR808 OpHH CrashCymbal1 CrashCymbal1 Crash Cymbal

49

Mix Tom4 Deep Tom3 TR808 Tom6 High Tom2 Mix Tom4

50

Rock Rd Edge Wide Syn Cym Ride Cymbal1 Ride Cymbal1 Rock R d Edge

51

52

China Cymbal TR808 Cym2 Rock Chash China Cymbal China Cymbal Ride Cymbal China Cym1 Ride Cup Ride Cymbal2 Ride Cymbal

53

Tambourine Castanet Tambourine1 Tambourine Tambourine

54

Rock Crash TR808 Cym3 Syn Swt Atk1 SplashCymbal R ock Crash

55

Cowbell Syn Cowbell Agogo Noise Cowbell Cowbell

56

Concert Cym China Cym2 MG Zap1 CrashCymbal2 Concert Cym

57

58

Vibraslap Syn Swt Atk1 Syn Swt Atk2 Vibraslap Vibraslap

59

TR808 Cym TR909 Kick3 TR909 Kick4 Ride Cymbal3 TR808 Cym Bongo1 Analog Kick3 SH32 K ick3 H igh Bongo1 Bongo1

60

Bongo2 Syn Stick TR808 Rim2 Low Bongo1 Bongo2

61

Bongo&Conga1 AnalogSnare2 TR808 Snare1 Conga Slap Bongo&Conga1

62

Conga TR808 Clap2 TR808 Clap1 OpenHi Conga Conga

63

64

Bongo&Conga2 AnalogSnare3 Analog Snare Low Conga1 Bongo&Conga2 TR808 Conga Shaker1 Mid Tom1 H igh Timbale TR808 Conga

65

Maracas Syn ClHH1 [M1] Noise ClHH [M1] Low Timbale Maracas

66

Shaker Shaker2 Mid Tom2 High Agogo Shaker

67

Triangle1 Syn ClHH2 [M1] Cl Hihat3 [M1] Low Agogo Triangle1

68

Cabasa Atmosphere1 Mid Tom3 Cabasa Cabasa

69

70

Guiro Syn OpHH [M1] Op Hihat2 [M1] Maracas Guiro 1

71

Street OpHH Atmosphere2 Mid Tom4 Shor tWhistle [M2] Street OpHH Scratch Atmosphere3 Mid Tom5 Long Whistle [M2] Scratch

72

Mix Atk1 TR808 Cym4 Rock Crash2 Short Guiro [M3] M ix Atk1

73

MG Zap Atmosphere4 Mid Tom6 Long Guiro [M3] MG Zap

74

Syn Swt Atk1 Mix Ride SplashCymbal Claves Syn Swt Atk1

75

76

Syn Swt Atk2 China Cym3 Rock Crash3 Hi WoodBlock Syn Swt Atk2 Cuica Low Rock Rd Edge Rock Rd Edge LowWoodBlock Cuica Low

77

Triangle2 Syn Slap Tambourine2 Mute Cuica [M4] Triangle2

78

Triangle3 MG Zap1 Syn Swt Atk3 Open Cuica [M4] Triangle3

79

Triangle4 SynVox Noise Cowbell1 MuteTriangle [M5] Triangle4

80

Mix Hit1 MG Zap2 Syn Swt Atk4 OpenTriangle [M5] Guiro 2

81

82

Mix Hit2 Syn Swt Atk2 Cowbell2 Shaker M ix Hit2

83

Mix Hit3 MG Zap3 MG Zap2 Castanet Mix Hit3 Wind Chime 808 Maracas Low Bongo High Bongo2 Wind Chime

84

Timpani Roll TR808 Claves MtHigh Conga MtHigh Conga Timpani Roll

85

Crotale MuteTriangle [M2] Conga Slap Low Bongo2 Crotale

86

R8 Click [M2] OpenTriangle [M2] OpHigh Conga Low Bongo3 R8 Click [M2]

87

88

Metro Bell [M2] Mix H it Op Low Conga Low Conga2 Metro Bell [M2] DR202 Beep 1 Scratch High Timbale Low Tom3 MC500 Beep 1

89

DR202 Beep 2 Easy Gtr Low Timbale Low Tom4 MC500 Beep 2

90

Sweep Down1 Syn Bel Atk High Agogo M ix Kick1 Sweep Down1

91

Sweep Up MG Attack Low Agogo Mix Kick2 Sweep Up

92

Sweep Down2 SynSnareRoll Cabasa

93

94

Light Wood Syn Burst Nz Maracas Mix Kick4 Light Wood

95

Laser White Noise Short Guiro [M2] Mix Nz1 Laser Low Atk Polishing Nz Long Guiro [M2] Mix Nz2 Low Atk

96

Analog Kick Long Guiro Claves Mix Nz3 Analog Kick

97

Old Kick Light Wood LowWoodBlock Wind Chime Old Kick

98

Mix Kick6 Light Box Hi WoodBlock Hand Clap1 Mix Kick6

99

TR909 Snare Syn Swt Atk3 MuteTriangle [M3] Hand Clap2 TR909 Snare

100

TR808 Snare Laugh OpenTriangle [M3] ----- TR808 Snare

101

Mix Snare4 Oce Phone Castanet ----- Mix Snare5

102

Mix Snare5 Polish Kick Whistle ----- Mix Snare6

103

----- ----- ----- ----- -----

104

----- ----- ----- ----- -----

105

106

----- ----- ----- ----- -----

107

----- ----- ----- ----- -----

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

82

Mix Kick3 Sweep Down2

C1

C2

C3

C4

C5

C6

C7

C8

PRST: 0021. Latin Menu GM: 0001. GM2 STANDARD GM: 0002. GM2 ROOM GM: 0003. GM2 POWER GM: 0004. GM2 ELECTRIC

----- ----- ----- ----- -----

21

22

----- ----- ----- ----- -----

23

----- ----- ----- ----- -----

24

----- ----- ----- ----- -----

25

----- ----- ----- ----- -----

26

----- High Q H igh Q H igh Q High Q

27

28

----- Slap Slap Slap Slap

----- Scratch Push [M7] Scratch Push [M7] Scratch Push [M7] Scratch Push [M7]

29

----- Scratch Pull [M7] Scratch Pull [M7] S cratch Pull [M7] Scratch Pull [M7]

30

----- Sticks Sticks Sticks Sticks

31

----- Square Click Square Click Square Click Square Click

32

33

----- Metron Click Metron Click Metron Click Metron Click

34

----- Metron Bell Metron Bell Metron Bell Metron Bell

35

----- Kick Drum 2 Kick Drum 2 Power Kick 2 Kick Drum 2 Agogo 2 Hi Kick Drum 1 Kick Drum 1 Power Kick 1 Elec.Kick 1

36

Agogo 2 Lo Side Stick Side Stick Side Stick Side Stick

37

Agogo 3 Hi Aco.Snare Aco.Snare PowerSnareDr E.SnareDrum1

38

Agogo 3 Lo Hand Clap Hand Clap Hand Clap Hand Clap

39

40

ApitoHiShort Elec.Snare Elec.Snare Elec.Snare E.SnareDrum2 ApitoLoShort Low Tom 2 Room LowTom2 PowerLowTom2 E.Low Tom 2

41

Berimbau Dn ClosedHi-hat [M1] ClosedHi-hat [M1] ClosedHi-hat [M1] ClosedHi-hat [M1]

42

Berimbau Mut Low Tom 1 Room LowTom1 PowerLowTom1 E.Low Tom 1

43

Berimbau Opn Pedal Hi-hat [M1] Pedal Hi-hat [M1] Pedal Hi-hat [M1] Pedal Hi-hat [M1]

44

Berimbau Up Mid Tom 2 Room MidTom2 PowerMidTom2 E.Mid Tom 2

45

46

Bongo 1 Hi Open Hi-hat [M1] Open Hi-hat [M1] Open Hi-hat [M1] Open Hi-hat [M1]

47

Bongo 1 Lo Mid Tom 1 Room MidTom1 PowerMidTom1 E.Mid Tom 1 Bongo 2 Hi High Tom 2 Room H i Tom2 Power HiTom2 E.Hi Tom 2

48

Bongo 2 Lo CrashCymbal1 CrashCymbal1 CrashCymbal1 CrashCymbal1

49

Bongo Hi Hrd High Tom 1 Room Hi Tom1 Power HiTom1 E.Hi Tom 1

50

Bongo HiOp f Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Ride Cymbal1

51

52

Bongo Lo Hrd China Cymbal China Cymbal China Cymbal Reverse Cym. Bongo Lo Sft Ride Bell Ride Bell Ride Bell Ride Bell

53

Bongo LoOp f Tambourine Tambourine Tambourine Tambourine

54

Bongo LoOpmf SplashCymbal SplashCymbal SplashCymbal SplashCymbal

55

Bongo LoSlap Cowbell Cowbell Cowbell Cowbell

56

BongoBell Mt CrashCymbal2 CrashCymbal2 CrashCymbal2 CrashCymbal2

57

58

BongoBell Op Vibra-slap Vibra-slap Vibra-slap Vibra-slap

59

BongoHiSlap1 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 BongoHiSlap2 High Bongo High Bongo H igh Bongo High Bongo

60

Cabasa Roll Low Bongo Low Bongo Low Bongo Low Bongo

61

Caixa Mute MuteHi Conga MuteHi Conga MuteHi Conga MuteHi Conga

62

Caixa Mute2 OpenHi Conga OpenHi Conga OpenHi Conga OpenHi Conga

63

64

Caixa Open1 Low Conga Low Conga Low Conga Low Conga Caixa Open2 High Timbale H igh Timbale High Timbale High Timbale

65

Caixa Open3 Low Timbale Low Timbale Low Timbale Low Timbale

66

Caixa Rim High Agogo High Agogo High Agogo High Agogo

67

Caixa Roll Low Agogo Low Agogo Low Agogo Low Agogo

68

Caixa Roll2 Cabasa Cabasa Cabasa Cabasa

69

70

Cajon Hi Maracas Maracas Maracas Maracas

71

Cajon Lo ShortWhistle [M2] ShortWhistle [M2] Shor tWhistle [M2] ShortWhistle [M2] Cajon Rol Hi Long Whistle [M2] Long Whistle [M2] Long Whistle [M2] Long Whistle [M2]

72

Cajon Rol Lo Short Guiro [M3] Short Guiro [M3] Short Guiro [M3] Short Guiro [M3]

73

Caxixi Long Guiro [M3] Long Guiro [M3] Long Guiro [M3] Long Guiro [M3]

74

Chekere 1 Claves Claves Claves Claves

75

76

Chekere 2 Hi WoodBlock Hi WoodBlock Hi WoodBlock H i WoodBlock Chekere 3 LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock

77

Clave! Mute Cuica [M4] M ute Cuica [M4] Mute Cuica [M4] Mute Cuica [M4]

78

Claves Lo 2 Open Cuica [M4] Open Cuica [M4] Open Cuica [M4] Open Cuica [M4]

79

Conga Hi Mt MuteTriangle [M5] MuteTriangle [M5] MuteTriangle [M5] MuteTriangle [M5]

80

Conga Hi Op OpenTriangle [M5] OpenTriangle [M5] OpenTriangle [M5] OpenTriangle [M5]

81

82

Conga Link Shaker Shaker Shaker Shaker

83

Conga Lo Mt Jingle Bell Jingle Bell Jingle Bell Jingle Bell Conga Roll Bell Tree Bell Tree Bell Tree Bell Tree

84

Conga Slap Castanets Castanets Castanets Castanets

85

Conga Thumb Mute Surdo [M6] Mute Surdo [M6] Mute Surdo [M6] Mute Surdo [M6]

86

CongaLoOp f Open Surdo [M6] Open Surdo [M6] Open Surdo [M6] Open Surdo [M6]

87

88

CongaLoOp mf ----- ----- ----- ----Cowbell 1 ----- ----- ----- -----

89

Cowbell 2 ----- ----- ----- -----

90

Cowbell 3 ----- ----- ----- -----

91

Cowbell Mt 1 ----- ----- ----- -----

92

93

Cowbell Mt 2 ----- ----- ----- -----

94

Cowbell Op 1 ----- ----- ----- -----

95

Cowbell Op 2 ----- ----- ----- -----

----- ----- ----- ----- -----

96

----- ----- ----- ----- -----

97

----- ----- ----- ----- -----

98

----- ----- ----- ----- -----

99

----- ----- ----- ----- -----

100

----- ----- ----- ----- -----

101

----- ----- ----- ----- -----

102

----- ----- ----- ----- -----

103

----- ----- ----- ----- -----

104

----- ----- ----- ----- -----

105

106

----- ----- ----- ----- -----

107

----- ----- ----- ----- -----

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

Performance List

83

C1

C2

C3

C4

C5

C6

C7

C8

Performance List

GM: 0005. GM2 ANALOG GM: 0006. GM2 JAZZ GM: 0007. GM2 BRUSH GM: 0008. GM2 ORCHSTRA GM: 0009. GM2 SFX

----- ----- ----- ----- -----

21

22

----- ----- ----- ----- -----

23

----- ----- ----- ----- -----

24

----- ----- ----- ----- -----

25

----- ----- ----- ----- -----

26

High Q H igh Q H igh Q ClosedHi-hat [M1] -----

27

28

Slap Slap Slap Pedal Hi-hat [M1] ----Scratch Push [M7] Scratch Push [M7] Scratch Push [M7] Open Hi-hat [M1] -----

29

Scratch Pull [M7] Scratch Pull [M7] S cratch Pull [M7] Ride Cymbal1 -----

30

Sticks Sticks Sticks Sticks -----

31

Square Click Square Click Square Click Square Click -----

32

33

Metron Click Metron Click Metron Click Metron Click -----

34

Metron Bell Metron Bell Metron Bell Metron Bell -----

35

Kick Drum 2 Jazz Kick 2 Jazz Kick 2 Concert BD 2 ----Ana.Kick 1 Jazz Kick 1 Jazz K ick 1 Concert BD 1 -----

36

Ana.Rim Sho Side Stick Side Stick Side Stick -----

37

Ana.Snare 1 Aco.Snare Brush Tap Concert SD -----

38

Hand Clap Hand Clap Brush Slap Castanets High Q

39

40

Elec.Snare Elec.Snare Brush Swirl Concert SD Slap Ana.Low Tom2 Low Tom 2 BrushLowTom2 Timpani F Scratch Push [M7]

41

Ana.ClosedHH [M1] ClosedHi-hat [M1] ClosedHi-hat [M1] Timpani F# Scratch Pull [M7]

42

Ana.Low Tom1 Low Tom 1 BrushLowTom1 Timpani G Sticks

43

Ana.ClosedHH [M1] Pedal Hi-hat [M1] Pedal Hi-hat [M1] Timpani G# Square Click

44

Ana.Mid Tom2 Mid Tom 2 BrushMidTom2 Timpani A Metron Click

45

46

Ana.Open HH [M1] Open Hi-hat [M1] Open Hi-hat [M1] Timpani A# Metron Bell

47

Ana.Mid Tom1 Mid Tom 1 BrushMidTom1 Timpani B GtFret Noise Ana.Hi Tom2 High Tom 2 Brush HiTom2 Timpani c Cut Noise Up

48

Ana.Cymbal CrashCymbal1 CrashCymbal1 Timpani c# Cut Noise Dw

49

Ana.Hi Tom1 High Tom 1 Brush HiTom1 Timpani d Slap_St.Bass

50

Ride Cymbal1 Ride Cymbal1 Ride Cymbal1 Timpani d# Fl.Key Click

51

52

China Cymbal China Cymbal China Cymbal Timpani e Laughing Ride Bell Ride Bell Ride Bell Timpani f Scream

53

Tambourine Tambourine Tambourine Tambourine Punch

54

SplashCymbal SplashCymbal SplashCymbal SplashCymbal Heart Beat

55

Ana.Cowbell Cowbell Cowbell Cowbell Footsteps 1

56

CrashCymbal2 CrashCymbal2 CrashCymbal2 Concer t Cym2 Footsteps 2

57

58

Vibra-slap Vibra-slap Vibra-slap Vibra-slap Applause

59

Ride Cymbal2 Ride Cymbal2 Ride Cymbal2 Concert Cym1 Door Creak High Bongo H igh Bongo High Bongo H igh Bongo Door

60

Low Bongo Low Bongo Low Bongo Low Bongo Scratch

61

Ana.Hi Conga MuteHi Conga MuteHi Conga MuteHi Conga Wind Chimes

62

Ana.MidConga OpenHi Conga OpenHi Conga OpenHi Conga Car-Engine

63

64

Ana.LowConga Low Conga Low Conga Low Conga Car-Stop High Timbale H igh Timbale High Timbale High Timbale Car-Pass

65

Low Timbale Low Timbale Low Timbale Low Timbale Car-Crash

66

High Agogo High Agogo High Agogo High Agogo Siren

67

Low Agogo Low Agogo Low Agogo Low Agogo Train

68

Cabasa Cabasa Cabasa Cabasa Jetplane

69

70

Ana.Maracas Maracas Maracas Maracas Helicopter

71

ShortWhistle [M2] ShortWhistle [M2] ShortWhistle [M2] ShortWhistle [M2] Starship Long Whistle [M2] Long Whistle [M2] Long Whistle [M2] Long Whistle [M2] Gun Shot

72

Short Guiro [M3] Shor t Guiro [M3] Short Guiro [M3] Shor t Guiro [M3] M achine Gun

73

Long Guiro [M3] Long Guiro [M3] Long Guiro [M3] Long Guiro [M3] Lasergun

74

Ana.Claves Claves Claves Claves Explosion

75

76

Hi WoodBlock Hi WoodBlock Hi WoodBlock Hi WoodBlock Dog LowWoodBlock LowWoodBlock LowWoodBlock LowWoodBlock Horse -Gallop

77

Mute Cuica [M4] Mute Cuica [M4] Mute Cuica [M4] Mute Cuica [M4] Birds

78

Open Cuica [M4] Open Cuica [M4] Open Cuica [M4] Open Cuica [M4] Rain

79

MuteTriangle [M5] MuteTriangle [M5] MuteTriangle [M5] MuteTriangle [M5] Thunder

80

OpenTriangle [M5] OpenTriangle [M5] OpenTriangle [M5] OpenTriangle [M5] Wind

81

82

Shaker Shaker Shaker Shaker Seashore

83

Jingle Bell Jingle Bell Jingle Bell Jingle Bell Stream Bell Tree Bell Tree Bell Tree Bell Tree Bubble

84

Castanets Castanets Castanets Castanets -----

85

Mute Surdo [M6] Mute Surdo [M6] Mute Surdo [M6] Mute Surdo [M6] -----

86

Open Surdo [M6] Open Surdo [M6] Open Surdo [M6] Open Surdo [M6] -----

87

88

----- ----- ----- Applause -----

----- ----- ----- ----- -----

89

----- ----- ----- ----- -----

90

----- ----- ----- ----- -----

91

----- ----- ----- ----- -----

92

93

----- ----- ----- ----- -----

94

----- ----- ----- ----- -----

95

----- ----- ----- ----- -----

96

----- ----- ----- ----- -----

97

----- ----- ----- ----- -----

98

----- ----- ----- ----- -----

99

----- ----- ----- ----- -----

100

----- ----- ----- ----- -----

101

----- ----- ----- ----- -----

102

----- ----- ----- ----- -----

103

----- ----- ----- ----- -----

104

----- ----- ----- ----- -----

105

106

----- ----- ----- ----- -----

107

----- ----- ----- ----- -----

108

----- : no sound

[M] : will not sound simultaneously with other percussion instruments of the same number

84

Rhythm Pattern List

No. Group Pattern

001 Pop 1

002 Pop 2

003 Pop 3

004 Pop 4

005 Pop 5

006 Pop 6

007 Pop 7

008 6/8 Pop 1

1-a (120)

1-b (120)

1-c (120)

1-d (120)

1-e (120)

1-f (120)

1-g (120)

1-h (120)

2-a (120)

2-b (120)

2-c (120)

2-d (120)

2-e (120)

2-f (120)

2-g (120)

2-h (120)

3-a (150)

3-b (150)

3-c (150)

3-d (150)

3-e (150)

3-f (150)

3-g (150)

3-h (150)

4-a (120)

4-b (120)

4-c (120)

4-d (120)

4-e (120)

4-f (120)

4-g (120)

4-h (120)

5-a (103)

5-b (103)

5-c (103)

5-d (103)

5-e (103)

5-f (103)

5-g (103)

5-h (103)

6-a (96)

6-b (96)

6-c (96)

6-d (96)

6-e (96)

6-f (96)

6-g (96)

6-h (96)

7-a (104)

7-b (104)

7-c (104)

7-d (104)

7-e (104)

7-f (104)

7-g (104)

7-h (104)

8-a (110)

8-b (110)

8-c (110)

8-d (110)

8-e (110)

8-f (110)

8-g (110)

8-h (110)

No. Group Pattern

009 Pop 8

010 Rock 1

011 Rock 2

012 Funk

013 Fusion

014 6/8 Jazz

015 Bossa

016 Hip Hop

9-a (125)

9-b (125)

9-c (125)

9-d (125)

9-e (125)

9-f (125)

9-g (125)

9-h (125)

1-a (120)

1-b (120)

1-c (120)

1-d (120)

1-e (120)

1-f (120)

1-g (120)

1-h (120)

2-a (114)

2-b (114)

2-c (114)

2-d (114)

2-e (114)

2-f (114)

2-g (114)

2-h (114)

1 (115)

2 (115)

3 (115)

4 (115)

5 (115)

6 (115)

7 (115)

8 (115)

1 (100)

2 (100)

3 (100)

4 (100)

5 (100)

6 (100)

7 (100)

8 (100)

1 (136)

2 (136)

3 (136)

4 (136)

5 (136)

6 (136)

7 (136)

8 (136)

1 (160)

2 (160)

3 (160)

4 (160)

5 (160)

6 (160)

7 (160)

8 (160)

1 (95)

2 (95)

3 (95)

4 (95)

5 (95)

6 (95)

7 (95)

8 (95)

No. Group Pattern

017 R&B

018 Reggae

019 Trance 1

020 Trance 2

021 House 1

022 House 2

023 Drum'n Bs

024 Disco

1 (140)

2 (140)

3 (140)

4 (140)

5 (140)

6 (140)

7 (140)

8 (140)

1 (105)

2 (94)

3 (94)

4 (90)

5 (89)

6 (105)

7 (105)

8 (100)

1 (140)

2 (138)

3 (142)

4 (142)

5 (142)

6 (142)

7 (138)

8 (138)

1 (143)

2 (142)

3 (135)

4 (140)

5 (130)

6 (154)

7 (140)

8 (138)

1 (126)

2 (126)

3 (124)

4 (128)

5 (125)

6 (128)

7 (126)

8 (126)

1 (125)

2 (130)

3 (134)

4 (127)

5 (128)

6 (128)

7 (128)

8 (128)

1 (170)

2 (160)

3 (180)

4 (160)

5 (170)

6 (170)

7 (170)

8 (170)

1 (125)

2 (125)

3 (125)

4 (120)

5 (130)

6 (124)

7 (125)

8 (125)

No. Group Pattern

025 6/8 SlwJazzWaltz

026 6/8 Shue

027 6/8 Pop 2

028 Machine Beat 1

029 Machine Beat 2

030 Machine Beat 3

( ) : Recommended tempo

1-a (80)

1-b (80)

1-c (80)

1-d (80)

2-a (80)

2-b (80)

2-c (80)

2-d (80)

1-a (90)

1-b (90)

1-c (90)

1-d (90)

2-a (90)

2-b (90)

2-c (90)

2-d (90)

1-a (64)

1-b (64)

1-c (64)

1-d (64)

2-a (64)

2-b (64)

2-c (64)

2-d (64)

1 (100)

2 (100)

3 (140)

4 (140)

5 (160)

6 (160)

7 (136)

8 (160)

1 (130)

2 (130)

3 (130)

4 (140)

5 (140)

6 (140)

7 (175)

8 (160)

1 (130)

2 (130)

3 (130)

4 (130)

5 (130)

6 (130)

7 (130)

8 (130)

85

Pattern List

No. Name

001 Chiptune 1

002 Chiptune 2

003 Synth Pop 1

004 Synth Pop 2

005 Pop EDM 1

006 Pop EDM 2

007 Pop EDM 3

008 Pop EDM 4

No. Name

009 Pop EDM 5

010 Pop EDM 6

011 Pop EDM 7

012 Drum&Bass 1

013 Drum&Bass 2

014 Electro.H 1

015 Electro.H 2

016 ProgTrance

Arpeggio Style List

No.

Name

001 Basic 1 (a)

002 Basic 2 (a)

003 Basic 3 (a)

004 Basic 4 (a)

005 Basic 5 (a)

006 Basic 6 (a)

007 Seq Ptn 1 (2)

008 Seq Ptn 2 (2)

009 Seq Ptn 3 (2)

010 Seq Ptn 4 (2)

011 Seq Ptn 5 (2)

012 Seq Ptn 6 (3)

013 Seq Ptn 7 (3)

014 Seq Ptn 8 (3)

015 Seq Ptn 9 (3)

016 Seq Ptn 10 (3)

017 Seq Ptn 11 (3)

018 Seq Ptn 12 (3)

019 Seq Ptn 13 (3)

020 Seq Ptn 14 (3)

021 Seq Ptn 15 (3)

022 Seq Ptn 16 (3)

023 Seq Ptn 17 (3)

024 Seq Ptn 18 (4)

025 Seq Ptn 19 (4)

026 Seq Ptn 20 (4)

No.

Name

027 Seq Ptn 21 (4)

028 Seq Ptn 22 (4)

029 Seq Ptn 23 (4)

030 Seq Ptn 24 (4)

031 Seq Ptn 25 (4)

032 Seq Ptn 26 (4)

033 Seq Ptn 27 (4)

034 Seq Ptn 28 (4)

035 Seq Ptn 29 (4)

036 Seq Ptn 30 (5)

037 Seq Ptn 31 (5)

038 Seq Ptn 32 (6)

039 Seq Ptn 33 (p)

040 Seq Ptn 34 (p)

041 Seq Ptn 35 (p)

042 Seq Ptn 36 (p)

043 Seq Ptn 37 (p)

044 Seq Ptn 38 (p)

045 Seq Ptn 39 (p)

046 Seq Ptn 40 (p)

047 Seq Ptn 41 (p)

048 Seq Ptn 42 (p)

049 Seq Ptn 43 (p)

050 Seq Ptn 44 (p)

051 Seq Ptn 45 (p)

052 Seq Ptn 46 (p)

No. Name

017 Electro 1

018 Electro 2

019 TechHouse 1

020 TechHouse 2

021 Trap 1

022 Trap 2

023 Trap 3

024 Trap 4

No.

Name

053 Seq Ptn 47 (p)

054 Seq Ptn 48 (p)

055 Seq Ptn 49 (p)

056 Seq Ptn 50 (p)

057 Seq Ptn 51 (p)

058 Seq Ptn 52 (p)

059 Seq Ptn 53 (p)

060 Seq Ptn 54 (p)

061 Seq Ptn 55 (p)

062 Seq Ptn 56 (p)

063 Seq Ptn 57 (p)

064 Seq Ptn 58 (p)

065 Seq Ptn 59 (p)

066 Seq Ptn 60 (p)

067 Bassline 1 (1)

068 Bassline 2 (1)

069 Bassline 3 (1)

070 Bassline 4 (1)

071 Bassline 5 (1)

072 Bassline 6 (1)

073 Bassline 7 (1)

074 Bassline 8 (1)

075 Bassline 9 (1)

076 Bassline 10 (2)

077 Bassline 11 (2)

078 Bassline 12 (2)

No. Name

025 Trap 5

026 Trap 6

027 House 1

028 House 2

029 EDM 1

030 EDM 2

031 EDM 3

032 EDM 4

No.

Name

079 Bassline 13 (2)

080 Bassline 14 (2)

081 Bassline 15 (2)

082 Bassline 16 (3)

083 Bassline 17 (3)

084 Bassline 18 (3)

085 Bassline 19 (3)

086 Bassline 20 (3)

087 Bassline 21 (3)

088 Bassline 22 (p)

089 Bassline 23 (p)

090 Bassline 24 (p)

091 Bassline 25 (p)

092 Bassline 26 (p)

093 Bassline 27 (p)

094 Bassline 28 (p)

095 Bassline 29 (p)

096 Bassline 30 (p)

097 Bassline 31 (p)

098 Bassline 32 (p)

099 Bassline 33 (p)

100 Bassline 34 (p)

101 Bassline 35 (p)

102 Bassline 36 (p)

103 Bassline 37 (p)

104 Bassline 38 (p)

No.

105 Bassline 39 (p)

106 Bassline 40 (p)

107 Bassline 41 (p)

108 Sliced 1 (a)

109 Sliced 2 (a)

110 Sliced 3 (a)

111 Sliced 4 (a)

112 Sliced 5 (a)

113 Sliced 6 (a)

114 Sliced 7 (a)

115 Sliced 8 (a)

116 Sliced 9 (a)

117 Sliced 10 (a)

118 Gtr Arp 1 (4)

119 Gtr Arp 2 (5)

120 Gtr Arp 3 (6)

121 Gtr Backing 1(a)

122 Gtr Backing 2(a)

123 Key Bckng1 (a)

124 Key Bckng2 (a)

125 Key Bckng3 (1-3)

126 1/1 Note Trg (1)

127 1/2 Note Trg (1)

128 1/4 Note Trg (1)

Recommended number of notes to press

(1)–(6) : One to six notes

(1-3) : One bass note + three-note chord

(a) : As desired

(p) : One note, with Motif (p. 29) set to “Phrase”

Name

Vocoder/Auto Pitch List

No.

Name

Mode: Vocoder

001 Voc:Ensmble

002 Voc:5thStack

003 Voc:Robot

004 Voc:Saw

005 Voc:Sqr

006 Voc:RiseUp

007 Voc:AutoVib

008 Voc:PitchEnv

009 Voc:Choir

010 Voc:Noise

86

No.

Name

Mode: Auto-Pitch

011 AP:Elct Pch1

012 AP:Elct Pch2

013 AP:Hard Pch

014 AP:Soft Pch1

015 AP:Formant +

016 AP:Formant -

017 AP:Octave +

018 AP:Octave -

019 AP:toSoprano

020 AP:to Bass

Placing This Unit on a Stand

Be careful not to pinch your ngers when setting up the stand.

* When using the KS-18Z and KS-J8, ensure that the height of the unit is one meter or lower.

If you’re using the 61-key model

If you want to place the 61-key model on a stand, please use the KS-12 or KS-18Z stands manufactured by Roland.

KS-12

Adjust the width of the stand so that the rubber feet on the keyboard side of the bottom of the keyboard t into the rubber feet receptacles

KS-18Z

Adjust so that the

Align the front of the JUNO-DS with the front of the stand

height does not exceed 1 meter (Adjust the stand to a level no higher than the fth level from the bottom)

If you’re using the 88-key model

If you want to place the 88-key model on a stand, please use the KS-12, KS-18Z, KS-J8, or KS-G8B stands manufactured by Roland.

Top view

Adjust the width of the stand so that the rubber feet of the JUNO-DS straddle the stand

Top view

KS-12

KS-18Z

Align the rear of the JUNO-DS with the rear of the stand

Adjust so that the height does not exceed 1 meter (Adjust the stand to a level no higher than the fth level from the bottom)

Adjust the width of the stand so that the rubber feet of the JUNO-DS t into the rubber feet receptacles

Top view

Adjust the width of the stand so that the rubber feet of the JUNO-DS straddle the stand

Top view

87

Placing This Unit on a Stand

KS-G8B

Align the front of the JUNO-DS with the rubber base of the stand

5Keep the rubber feet of

the JUNO-DS on the inside of the stand

5Ensure that the rubber

base of the stand does not contact the screws of the JUNO-DS

Top view

88

Roland DS61 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Additional Explanation

Panel Descriptions

Patch Mode

Key Touch

Sample Import

Editing a Patch/Drum Kit

Performance Mode

Editing a Performance

Pattern Sequencer

Realtime Erase

Demo Songs

Saving a Pattern As a “Performance” (SAVE AS PERFORM)

Patch Mode

Patch/Drum Kit Edit

Procedure

About the Parameters

Patch Parameters

Drum Kit Parameters

Signal Flow

Procedure

Performance Mode

Performance Edit

Procedure

Performance Parameters

Part Edit

Procedure

Performance Parameters

Signal Flow

Procedure

Sample Edit

Procedure

Sample Parameters

Editing Arpeggios

Selecting Ascending/Descending Variations (Motif)

Editing the Vocoder/Auto Pitch

Saving the Vocoder/Auto Pitch Settings (Write)

Creating an Original Scale (USER SCALE)

Setting a User Scale

Recalling a User Scale

System Settings

Procedure

System Parameters

Connecting to a Computer via USB

Making USB Driver Settings

Installing the USB Driver

Using the JUNO-DS with DAW Software

Using the JUNO-DS As a DAW Controller

Using the JUNO-DS to Control DAW Software

Assigning Functions to Knobs and Sliders

Using the JUNO-DS As a MIDI Keyboard

Playing the JUNO-DS’s Sound Generator from DAW Software

Using the JUNO-DS As an Audio Interface

Saving the DAW CONTROL Settings

Error Messages

MFX/Chorus/Reverb Parameters

MFX Parameters (MFX, MFX1–3)

Chorus Parameters

Reverb Parameters

Waveform List

Patch List

Performance List

Drum Kit List

Drum Kit Assign List

Rhythm Pattern List

Pattern List

Arpeggio Style List

Vocoder/Auto Pitch List

Placing This Unit on a Stand